#like cut scene unlocked!

[nemhaine42]

and so Vegeta spent the rest of the afternoon desperately trying to remember if that was actually true or if it was just something Nappa made up in order to force Vegeta to share a bunk with Raditz and give himself some extra space.

Headcanon: Vegeta and Raditz were brothers and I cannot be convinced otherwise. Not nicey-nicey brothers like Gohan and Goten but like awful, antagonistic, constantly squabbling brothers who made Nappa lose what was left of his hair from stress. Nor is it a sentiment that either Raditz or Vegeta would ever admit to, not even to themselves, not under pain of death.

But like at some point when Goten is really little he'll refer to Vegeta as his uncle, which Vegeta will vehemently reject. He is adamant that Kakarot was not his brother, therefore he cannot be Goten's uncle. Unfortunately when the word 'brother' passes his lips Raditz's stupid face flashes in his mind's eye and this cannot be undone.

[satorugojoswiife]

wait.... why aren't any of the kyoto students playable 😭

[rossithepixie]

can't lie.. Childe gets some great fighting sequences.

Also you guys have no idea how much restraint it took me to not liveblog me playing the main quest in fontaine. No idea. I fucking loved it though.

[ciaoteamo]

Milk and Water Pt. II

pairings: doppelgänger!Milkman x fem!Reader

summary: the aftermath of letting him in

pt.I

(art credits: @yunonoaii)

warnings: 18+ content

“…what. the. fuck.” You mutter to yourself, watching the scene before you unfold.

“mmm, how about letting me in now? promise i won’t bite you too hard” His eyes were dangerously seductive.

Your desktop fan and the slight rustling sound of (what you could only assume was) him touching himself filled the eerie silence of your office space.

However, he could still tell that you were hesitant to let him in, especially considering what he just did to D.D.D.

“how about this, sweetheart we-“

“if i open this door.” You cut him off. He shuts up quickly and halts his movements with a blank stare. His eyes watching you intently.

“you come straight to me, or else i swear to fuck. it will not be a good time for you. you copy?” Your hands were firmly grasping the edge of the desk as you stared the man in his color changing eyes.

“i promise” He kisses the window and you give him one last short lived glare before unlocking the door for him.

BZZT!

He slowly turns away from you and walks toward the door and you felt relieved to hear a light knock a few seconds later before he let himself in.

“see? you can trust the milkman” He grins.

He was a mess. Between the torn clothing, the blood, and his unzipped slacks that displayed his black briefs holding back a huge bulge, he honestly looked like something out of a wet dream.

“this is quite a small space… you think i’ll be alright in here?” He closed the door behind himself and strides toward you.

“you don’t have any choice but to be alright” You retort and he chortles.

“i love this mouth of yours… i’ve never crossed paths with a human as bold as you…” He tilts his head, placing a hand under your chin to lift it a bit.

“unless you’re actually scared… and using this boldness as a tactic..?” His irises turn white once again and his grip on your chin tightened slightly.

Though you were enduring a near death experience right now, being that you were this close to a doppelgänger, you were unbelievably horny.

“tactics?” You start. You already knew that you probably wouldn’t be able to get out of his grip just by moving, so you used a more… inappropriate approach.

You took a step closer to him, closing in the 2 foot gap that sat between the two of you and you placed your palm over his hard-on.

His grip immediately loosened a bit and his fingers twitched against your skin. What a reaction that was…

You feel more confident, realizing that he’s just another horny good looking guy. “is there a reason i should be afraid of you?” You ask, hand squeezing around him and a finger rubbing his tip.

He shudders and his hand falls from your chin and rests around your throat. His forehead tapped against yours, and your eyes were fixed on each other. “…you really are something”

“wish i could say the same for you“ You start, breaking the eye contact to look at his lips and sharp canines. “you’re just a slutty and messy excuse of a monster” Your words would probably be venom to anyone else, but this only riled him up more.

You felt his throbbing under your palm and grin to yourself before being greedily pulled into a kiss. For a brief moment, you could taste a metallic bloody taste on his tongue.

You moaned at the warmth of his mouth and felt his hands rested on your hips, rubbing circles into the area.

You release yourself from the kiss with his bottom lip between your teeth and a smile. “desperate, are we?” You tease.

“painfully…” His eyes glistened. “what’ll it take to get those pretty lips to go a little lower?”

“show me what yours can do first and i’ll see about returning the favor” You challenge. His eyes go back and forth between yours before he kisses you again.

This time however, he started to undo your uniform. Groaning so deeply that you felt the rumble in your throat. His skilled hands loosened your belt and your slacks came down and off.

Next he lowered himself and lifted you a bit to get off your socks and shoes, making him get more sloppy and needy within the kiss.

At this point he was squatting and you were standing over him, holding both sides of his face. His hands travelled up and down your leg as he stayed in his position and this time, he’s the one to break the kiss.

You were both breathing heavily, and staring each other down. You almost forgot your resolve and let him fuck you right then and there.

But you had to stay strong, for both of you guys’ sake. You take a deep breath in and til your head.

“well, you gonna show me? or are just sit there and look delirious from a simple kiss?” You teased.

“…may i?” He asks with a slightly raised eyebrow, gesturing toward your leg.

“go ahead”

“hold on to something right”

“why am i h- shit!” You would’ve fell right to the ground if it wasn’t for the shelf behind you that held last months documents. Albeit, they’re scattered over the floor now.

Your legs were snatched from underneath you and each one was hooked over the man’s shoulders. His warm breath against you felt sinister. It sent a slight chill up your spine.

His eyes stared down at your sex and he licked his lips, looking more excited than you did for this. “don’t let go” He says before using gis fingers to spread you sticky lips.

His tongue pressed hard into you and drug from your hole, up to your clit. You bit your lip at the warmth and felt your back arch against your will.

“ha~ this all you got? Thought you said you’d be bet- anghh~!” Your eyes widen and your mouth drops at the new feeling below.

“you were saying?” He mumbles into you. His tongue was longer with a pointy tip, and his lips were wrapped tightly around your clit.

The pleasure was almost overwhelming. You could definitely admit that he made you eat your words and replace them with loud endless moans.

As you felt yourself getting closer you began to grind your hips over his face, chasing after your high.

“don’t stop” You could barely get out the last word before the wave of immense overstimulating pleasure came over you.

You curse and take in a few deep breaths, calming yourself down a bit, and only then did he let your clit go with a ‘pop’, making your legs to twitch.

“that wasn’t fair” You jokingly glare at him, the sweat making your skin shine and chilly from the fan air.

“i told you i was better” He wipes his chin with his thumb and licks it clean without breaking the eye contact.

“you have to be some sort of… sex demon” You shake your head in disbelief.

“maybe i am?” He lets you tug him closer by his tie and give him another sloppy kiss. The change in size of his tongue being just below too much for you as it explored your mouth.

“well let’s see how long you can last then… hm?” You ask, beginning to leave a trail of light kisses on his next before a harsh bite.

You could feel him shudder and decided to have him sit in your office chair. “let me borrow this..” You say, undoing his tie while he sat.

You spin the chair around and bring both of his arms to the back and tie them to the chair. When you spin his back around, his had such a mischievous grin that you went ahead and addressed.

“yes, i know you could probably get out of that in a heartbeat” You start and roll your eyes. He chuckles, amused at your awareness. “but, will you?” It was your turn to put on the sly grin now. The second he managed to break free from his restraint, would be the moment you’d send him off.

“…” He read your face, bit knowing if he should say something sly or not.

“right, thought so” You smile and give him a few taps on the cheek.

You kneel between the man’s legs, finally addressing the large and throbbing penis before you.

“god you’re hard… you weren’t kidding when you said you needed help” You joke, rubbing his wet tip through his boxers with you finger.

He grunted a bit and readjusted himself in his seat. You look up at him before pressing harshly on it with your thumb.

“oh fuck you~” He throws his head back and you giggle.

You reach for the hem of his briefs and tug at them, signaling him to lift his hips. Once he’s exposed, you could really see the girth and length of him.

He was veiny, thick… bright pink tip, and god knows how long it was.

You put your hand around the base, it was warm and nearly pulsating. Your pace was moderate, giving him just enough to work with. You knew it was a nice steady pace when his hips slightly jerked up for more friction.

“needy boy wanting to fuck my hand? this wasn’t even the main event you asked for, love” You coo, strengthening the grip you had on him by a smidge.

“i can’t help that you know how to use those hands of yours so well” He remarks, still facing the ceiling.

You pump your fist higher up and use your own skilled tongue to drag along his vein.

“@$?!~” He moaned and immediately looked down at you with a snarl. An almost threatening one telling you that he wanted more.

And were you planning on giving it to him? Absolutely not.

You stare right back at him and smirk, using the same motion and occasionally sucking the pre cum from its leaky pink source.

“i’m gonna cum” Your eyes welled a bit at the large shaft triggering your gag reflex. But he was close so you would endure the slight pain.

His thrust his hips up a few times and you force your head as far as you could before completely stopping.

“fuck- why’d you stop” His voice was almost a whisper and suddenly thick white ropes shot into the air and landed on his thigh.

“oh i’m sorry, i’ll keep going” You reach for his most sensitive spots, overstimulating him into a nervous laughter as he begged you to stop.

It was fun watching him experience more than he could handle, but all good things come to an end.

He sighs in relief, sweaty, heaving, and dazed.

“can i be freed now?” He asks.

“sure, why not. looks like you’re done here anyway” You shrug.

“who’s done?” He stands up, simply snapping the tie apart.

“oh… you’ve still got more in you?”

“im the milkman, i never run out” He suddenly picks you up and sits on you on the desk. Jesus, these things are strong.

You wrap your hands around your neck, suddenly feeling the arousal for another round yourself.

His hands find your slick entrance, teasing the outside and slipping two cold slender fingers into you.

“mmm!” You mean into the kiss, holding onto his forearm as he fingered you at an inhumane pace. You break away and cat h your breath trying to slow him down a bit.

“i don’t want to cum from this, put it in” You say.

“yes ma’am” He lines himself up without your entrance and slowly pushes himself in with a moan. You could every centimeter of the stretch as he went deeper.

You tapped the back of your head onto the window behind you and felt him kissing on your neck and collarbone.

“fuck you’re big” Your voice slightly shook as you stated the obvious.

“and you’re so warm and wet inside, i ashamed to admit that i almost came putting it in” He chuckled before biting back another groan.

RIIIIING

RIIIIING

You snap your head in the direction of the phone and see D.D.D. calling.

Shit.

“stop, i have to take this.” He halts his thrusts and you grab the phone. “hello?”

“agent number” A deep voice says over the phone.

“5 5 8 4 3 7” You state clearly.

“thank you agent (Y/N), we’re calling about a few M.I.A. cleaners? it says in our system that you were the last to call. is everything alright?”

“ye-es~” You feel something rubbing your g-spot and look over at Francis. ‘stop, now.’ You mouth silently. He just smirks and speeds up.

“are you sure? you sound like you’re being threatened” The man on the phone asks.

“mhm~, im fine sir, just a little shaky” You put your hand over the phone speaker and look at Francis.

“what the fuck is wrong with you??” You ask, interrupting yourself with a few moans.

“just a little thirsty for some water” He thrusts harder, causing him to hit your g-spot, and your clit back to back.

You cover your mouth with your shirt and moan into it, hearing the buzz of a voice on the phone. Honestly you should be scared, they could show any minute, but right now, you could care less.

“im gonna cum” You whisper, still being mindful of the potential listeners.

“yeah?” He grabs a young and stands straight up, slamming you down into his cock. You let out something just short of a scream into the crook of his neck and find yourself twitching and shaking in his grip.

You heard a splash and felt him fill you up with his seed. You both were a moaning, groaning mess, heavily breathing in place.

“(Y/N), do you copy?……. we’re on our way” The phone then hangs up and the low buzzy voice is replaced with a prominent beep.

“you have to go, they’re coming” You lazily try to leave his strong hold with a tired push against his chest.

“but first” He puts you back on the desk where you rest your back against the cold glass window. “a drink..” His tongue grows longer right infont of you, and cleans you from your ankles to your navel, and of course he ran it over the bundle of nerves he’s been abusing all night, making your body jolt.

“you’re so delicious… i wish i could always taste you” His tongue goes back to its normal size.

“well i’ll get going now… i’ll be seeing you again soon, love. i’ll try not to cause too much trouble next time…” He gives you a peppery kiss on the nose and leaves.

Well, that’s one way to end your day shift…

[incaseyouart]

The way I saw the cut scene after unlocking the water temple :3 I just imagine Sidon going back to Yona all like “Babe I think I just accidentally proposed to Link and he didn’t seem mad about it???”

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[stuck-in-the-ghost-zone]

i need to scream sobad i think screaming will fix me

[evie-sturns]

ignore - Matt Sturniolo

summary: you've been in a mood all day, ignoring matt and giving him little attention, you won't tell him what's wrong so he has to fuck the answers out of you.

contains: smut, arguing, crying, swearing, rough!matt, slight overstimulation.

-----------------°°••....••°°----------------

i've been pissed and emotional all day, i'm not even sure what for anymore, everything that people do is pushing me to my limits, especially my boyfriend, matt.

3:39pm

"c'mon we've gotta go." matt says, tapping my arm as i sit with my arms folded on the edge of matts bed. "i'm not going!" i raise my voice at matt, my eyebrows raised as i roll my eyes.

"chris and nick are waiting for us, we've booked the top golf session, we are going its for the celebration of nicks brand come on." matt says with a dad like tone.

i shake my head, "i don't want to, my head hurts." i say in a whiny tone, somehow on the verge of tears, matt lets out an exhausted sigh, tears start to fall down my cheek as i rub my eyes.

"why are you crying." matt says in a calm tone with a sigh. "go away!" i groan, matt walks out of the room shaking his head, he closes the door behind him.

"i don't know whats going on with her, im sorry nick." i hear him say to his brothers outside the door, i sniffle as i flop down on the bed behind me.

6:12pm

i've been enjoying the empty house by myself for the past few hours, i hear the triplets pull into the driveway before knocking on the door, i unlock the door and they all walk in, i give nick a hug, before asking chris how it went. he instantly starts to yap about his golf shots.

after a handful of minutes chris decides we should all watch a movie, matt tries saying something to me but i simply ignore him,

"y/n." matt repeats himself, i shoot him a side eye before continuing to speak to chris.

nick and chris pile onto the couch, matt sits down on the other side of the plush couch, i walk over to matt, sitting down on his lap and laying down against him, my back pressed against his torso and the back of my head resting on his shoulder.

matts chest rises and falls with each breath, lifting me up and down subtly.

9:29

the movie has been playing for over 3 hours, i've shifted around slightly against matt a couple of times, but haven't said anything to him.

i let out a heavy sigh matt taps my waist before whispering in my ear "please talk to me, you've been acting very off today."

i scoff "i've been acting off?" i whisper back, an attitude clear in my voice.

"yes you have, been acting like that, bratty." matt replies, i stay silent after that.

"talk to me about it." he says again, i shake my head no.

the closing scene of the movie finishes, chris and nick get up, "im headed to bed, see you guys in the morning." chris says with a yawn, "bye chris!" i say chirpily.

nick stands up, "see you!" he says running over and hugging me before leaving the living room.

matt and i sit in silence for a minute or so before matt pushes me off his lap, "come with me." matt says, i stare straight into his eyes, not moving nor speaking.

"come. with. me." matt raises his voice, grabbing my wrist and dragging me to his bedroom. he slams the door and locks it vigourously.

i sit down on the edge of his bed, fiddling with my nails. matt storms over to me, picking me up then throwing me back down on the bed, i fall straight on my back, my head landing in his pillows, one specific pillow having a stupid pug on it.

matt rips off his cute crewneck sweater, my eyes drawn to his tattooed arms.

his two hands firmly grip the waistband of my sweatpants, before yanking them and my panties down in one go. he unbuttons his jeans before pulling me by my ankles towards the edge of the bed.

"matt-" i start, he cuts me off, "dont start."

his boxers drop to the floor before he stands at the edge of the bed, i wrap my legs around his waist. matt stares into my eyes, asking for permission, i stay silent, just staring into his eyes.

"use your words and tell me what the fuck you want." he almost demands, his right hand now firmly gripping my waist.

i can't deny the fact i need him, the sudden switch in mood turns me on, along side matt being angry which he is never like, hes never fucked me while hes mad.

"just fuck me then if your so desperate." i mumble, matt lets out an exasperated laugh before lining himself up with me, slamming into me, his tip bruising my cervix.

i let out a yelp, "fuck!" matt starts to pound in and out of me, not showing signs of slowing down.

he grips my waist with both hands, his fingers digging into my skin as small grunts fall from matts lips.

the sounds coming out of me echo throughout the room, resulting in matt slamming a hand over my mouth, the cold metal of his rings pressing against my cheek.

"gonna act like this whole day? think you can act like that?" matt breathes out, his left hand which is still firmly placed on my waist tightens. matts breathing picks up,

im starting to consider always acting like 'this' so that matt fucks me like this again, i dont think ive ever had better sex in my life.

he repeatedly hits a spot inside of me which is driving me closer, and closer to my orgasm.

"awnser. me." matt says, staring into my squinted eyes, he removes his hand from my mouth, reaching down and brushing my clit.

"i- i didn't mean to" i say cluelessly, my mind completely fogged as i clench around him.

the pit in my stomach realeases as i orgasm, matts thrusts stop, after all this not wanting to overstimulate me.

"gonna talk to me now sweetheart?" matt says his voice soft but his breaths heavy.

i scoff with an eye roll, matt raises his eyebrows before thrusting into me again, i wince, "sensitive.." i say as matt presses on my clit, he starts to thrust again, waiting for me to speak.

i let out loud moans as matt starts to pick up his thrusts "please-" i groan, "matt-"

"i'm sorry- fuck" i say, my thighs dropping from his waist and squeezing together, matt pulls out, finishing with a whimper and painting my stomach with white streaks.

"oh my god-.." i groan, covering my forehead with my arms as i wipe away the few tears that fell from intensity.

"are you okay?" matt says, picking me up off the bed and carrying me towards the bathroom.

i hum in response, "was it too much? did i hurt you?" matt asks, worry in his voice as he places me down on the edge of his bath.

he bends down between my thighs, dabbing a towel gently against my skin. he walks out of the room, shortly coming back now wearing sweatpants and a white wifebeater tank top.

he brings me over the shorts i was wearing previously, and one of his black shirts. he pulls them onto me gently, his cold finger tips brushing against my skin.

he picks me up again, carrying me over to his bed and flicking off the overhead light, leaving his dim lamp on which illuminates the room just enough. he lays down on the bed, i lay ontop of him.

we lay in silence for about a minute before matt breaks it "are you okay? i mean you've seemed really off today and i should've talked with ya." matt says, running a hand through his hair.

"im sorry." i sigh, "no no, don't say that." matt replies instantly, "i'm not actually sure whats going on, i think i'm just a bit hungry" i say quietly,

matt laughs, "i did all of that for you to just be hungry?" he jokes, rubbing his eyes with a smile as his ears go red.

"i don't know!!" i laugh back, matt wraps his arms around my waist as i lay on top of him.

i suddenly spring up, "i'll be right back." i say, jogging out of the room towards nicks room, i knock twice before opening the door, nicks laying on the bed on his phone,

"you okay?" nick asks, i walk over to him, giving him a hug.

"im really sorry about not coming to topgolf nick, i was in a mood and i am extremely happy about your brand."

-------------

[dumbbitchgalore]

Part 4: Old man!Price wants his birdie to fly away 🕊

Part 1

Part 2

Part 3

John sighs softly as he walks out of the door with the final box filled with his belongings.

Parking your car in the driveway, you walk out of it and approach the front door as you spot John. You cross your arms and sigh softly.

"Done moving out, Captain?" You ask, void of any emotion.

John groans as he hears the formality in your voice, "Birdie-"

You put you hand up to cut him off, "Don't. Don't you dare call me that. It's fucking poison coming out of your mouth."

He frowns at your harsh scowl and releasing reasoning with you is no longer an option as you walk past him and open the door to your once shared home.

This is what he wished as the desired outcome of his actions. For you to kick his arse and finally be free of the bastard that he is. A broke, old man like him didn't need to clip a birdie's wings just for his sake.

But somewhere within his conscious, John was beginning to feel a sense of loneliness, guilt and longing. His actions where for his birdie's freedom. But was there truly no other motive towards his selfish actions?

John was beginning to slowly become an after thought to you as you were getting ready for a night out.

You stand in front of the mirror situated on the bedroom wall as you admire yourself. However, in the corner of your eye John's non-existant silhouette lingered behind you. Closing your eyes, you feel his arms wrap around you as you lean into his ghost. His scent begins to waft around you, engulfing you an a hazy trance.

John, John, John

Shaking your head left and right, you shoo his spirit away from your presence. You brush the wrinkles out of your outfit before walking out of the front door.

Unlocking the car, you sit in the driver's seat turning the ignition on. Headlight on, you drive out. Breathing in and out, playing ever single possible scenario as to how this night will unhold.

Regaining the lost confidence attributed to John's heinous actions, you sike yourself up through the whole car ride.

Coming to a halt in front of the pub, you spot him waiting for you near the front door. Smiling softly at the scene, you notice him shivering as the winter breeze bumps against him, prickling his skin. You find humour in the lack of a jacket, possibly to impress you with a visual of his body as he always tried to back during your engagement with Price which you actively ingored.

But now you decide to take in the sight, drinking in his physique along with his tattoo and his stupid mohawk that you used to depised, but now it's style began to grow on you.

Looking at yourself in the sun visor mirrow, you fix any imperfections you find in yourself before stepping out of the car and walking to him.

Giving him a soft smile, you hug him before stepping back and chuckling nervously.

"Sorry, haven't done this in a while" You say sheepishly, rubbing your upper him.

He smirks at your shyness, kissing your cheek. "Let me take the reins then, Bonnie?"

You nod at the scotsman's comment, leaning into his touch as he ushers you inside of the pub.

On the other side of the street, there he was. A witness to the scene which took place in front of him. John stands there idly, trying his best to let his birdie fly away and start the creation of a new nest.

[vidavalor]

Crepes: The 1.01 sex meta thing

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

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

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

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

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

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

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

Temptation accomplished.

~~~

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

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

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

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

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

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

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

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

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

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

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

Example: "The clarinet can make beautiful music."

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

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

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

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

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

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

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

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

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

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

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

What is this single, very important bullet point?

A lunch they had together in Paris in 1793.

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

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

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

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

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

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

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

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

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

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

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

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

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

Let's repeat that because mmhmm lol...

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

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

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

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

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

Does Crowley remember The Bastille?

Oh, Crowley remembers The Bastille...

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

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

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

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

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

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

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

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

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

"We had crepes."

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ok, back to 2008...

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

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

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

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

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

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

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

Frou frou cocktails with little...

Umbrellas. Canopies.

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

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

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

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

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

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

After "hereditary enemies"...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Indeed, Crowley. Indeed.

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

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

After alcohol, but before alcohol, ya dig?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Anticipatory kink. The first part of lunch.

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

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

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

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

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

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

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

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

[extemts]

hiii !! i was wondering if u could write an actress! reader x joost klein ? like, reader is up-and-coming, mostly in small indie films, and the two get caught out on a romantic, summer date by some fans that photographed them before posting it online. i would love if this would be a feminine female reader but anything will do. thank you so much !! :333

A life with you is like a movie.

requested? yes!

reader? female.

genre? fluff, secret relationships

as usual, my readers are alwaye kept gender neutral unless specifically requested like here!

︵‿︵‿୨♡୧‿︵‿︵

"Joost Klein at the premier of So Long, Florida!"

"Joost Klein dating a new up and coming actress?"

The rumors were everywhere for a while- it all started when scenes of your latest movie got attention on social media, leading to a success among dutch movie critics and a growing fan base around you. People were quick to find out that you were quite the Joost fan and when he was officially invited to the premier, rumors started really boiling up, but neither of you truely minded- if all it was quite entertaining to see fangirls either loving it or hating it. In the end, the man was yours.

Today was finally the first day in ages where both of you were free, so you decided to block out the entire day considering it was the first slightly cooler day of summer in a while, meaning you could enjoy being outside without boiling away, no matter how flowly of a dress one could pick. The day had been spent with lots of laughter, a whole bunch of ice cream and so many kisses that it got hard to count them. As the evening slowly came by, both of you had decided to sit down at your favorite family owned italian place.

"I missed this. I missed you most importantly." Joost broke the comfortable silence between you two, his lips curling up into a smile as he played with a strand of your long hair, his elbows resting on the table. "zo mooi..." the blonde man sitting across from you mumbled under his breath as you kept on talking about something, interrupting your words with a little kiss. Not many people know but Joost was truely a very loving man who would probably drop everything the second you ask for help; no matter what, he would go out of his way to make sure you were always satisfied and happy, and god he helped you through some hardships in life before. "So, anything regarding casting calls next week?" he tilted his head, his glasses slipping down just a little due to the movement. You cherished any moment where his glasses slipped down because you knew damn well he was looking over them and his vision of you was blurry, yet his eyes still had that same look you see in a teenager who fell madly in love with someone in their class, even if he couldn't properly see you.

"I got two I'm preparing for. Pretty similar roles, but I'm hoping to impress at least one of them." your voice showed quite some nervousness but truely you were always pretty confident in yourself, which honestly wasn't like that before the relationship between the two of you started. Seeing him give his everything on stage without showing an ounce of self doubt was eye opening. "What about you, shouldn't your new single be finished soon?-" your words were nearly cut off by the sudden sound of notifications coming from Joost's phone, then yours, and then both of them. The dutch singer only raised an eyebrow at you before unlocking his phone, the look on his face getting more and more confused the more he seemed to scroll through his phone, then he put it down and started looking around him like he just lost his dog. "Sooo babe, looks like we are official now." he shook his head in disbelief, a little chuckle leaving him as he finally turned his phone around to show you.

There you were, the two of you at this exact table, a picture taken less than ten minutes ago with Joost's fingers still playing with your hair, you seemed to be mid talking, it was quite the picture.

"I guess we are... I don't mind, you don't mind either, right?"

Before answering, he leaned a little closer again, pressing a soft kiss against your lips.

"I'll happily show you off."

okaaaay let's go

[hamsterclaw]

Yoongi’s a murder detective fighting burnout when he’s assigned the case that you and your former partner fucked up.

Paring: Yoongi x f! Reader

Genre: Detectives!Yoongi and reader

Rating: 18+

Word count: 6.6k

Warnings: Swearing, descriptions of murder, bloodshed and assault, sex, depression and burnout, mentions of guns

The flashing blue lights in Yoongi’s window are followed by the wail of sirens cutting through the early evening bustle.

Yoongi looks out the window. He’s three floors up from street level, there’s raindrops tracking along the dirty glass, the faint smell of mildew that accompanies any rainfall in this filthy city.

Under the table, his good leather shoes, the ones he saves for weddings and funerals, have rubbed a hole in the skin over his achilles. Yoongi had worn them for his disciplinary hearing today, the part of him that still wants to be a cop temporarily winning over the part of him that doesn’t.

He wonders if this is what burnout feels like.

His superior, Kim Namjoon, had called him into his office after the hearing to tell him he was on probation, to clean up his act because he wouldn’t be so lucky as to get off next time.

The truth is, Yoongi had known while he was pressing the suspect’s face into gravel with his booted foot that it would come back to bite him on the ass.

He’d done it anyway.

Yoongi’s never been kind to scum who exploit children, but his partner, Jung Hoseok, had seen something in Yoongi’s face that day that had made him report Yoongi.

Yoongi doesn’t blame him. Hoseok has been his partner on and off for five years and he’s as sterling as they come. His moral compass is as strong as it was the day they graduated from the academy, despite all the fucked up shit they’ve seen.

Unlike Yoongi.

Yoongi was never black and white to begin with and now he’s so far into the grey he scares himself sometimes. It’s never been his goal to be the kind of cop who metes out his own justice.

Only madness lies that way.

Anyway now Hoseok’s been reassigned temporarily to narcotics, supposedly a break from homicide, and Yoongi’s partnerless.

Probably not for long, there’s always some hungry rookie wanting the credibility of working homicide.

Yoongi sighs, closes the file he’d been skimming. It’s well past seven, there aren’t any open cases that need his immediate attention and he figures he might as well go home to his apartment and his cat, Kenzo.

The pavement’s slippery under the smooth soles of his good shoes, Yoongi pulls his coat tighter against the early autumn chill as he walks the five blocks to his apartment.

The smell of fried wontons fills his nostrils as he passes a conduit street in the back end of Little China, Yoongi’s tempted to stop and pick up dinner.

He’s tempted every time and succumbed yesterday so he soldiers on, not without a pang of regret. He regrets food choices because he’d rather that, than think about his actual regrets.

The bang of a gunshot when he’d been two minutes too late to what then became a crime scene.

Fucking some girl with a cute face because he hadn’t been man enough to treat Mara the way she deserved.

Choosing to stay in homicide even after it had become clear to him that he had plumbed the depths of human depravity. Scarring his psyche repeatedly because it’s easier than making the active choice to request a transfer.

Yoongi unlocks his door, toes his shoes off, hangs up his coat.

There’s a flicker of movement in the corner of his eye, a flash of grey fur as Kenzo skitters across the entryway, close but not touching him.

It’s the kind of greeting Yoongi can get behind.

He pours out a serving of dry food into Kenzo’s dish, heads to the fridge to reheat yesterday’s wontons.

Eats standing at the tiny kitchen island, cracks open a beer to wash it all down.

He catches sight of his face, pinched in the scowl it seems to fall into more often than not these days.

Jesus, is he getting old?

Yoongi avoids looking at his reflection again as he showers. Changes into the same t-shirt he’s been wearing for weeks, contemplates watching porn just to take the edge off, but decides he can’t be bothered.

He falls into sleep, deep and dreamless, wakes up with an almighty crick in his neck just before dawn from the way he’d been huddled in a tight ball under the covers.

He knows he’s not right, but he’s been not right for so long Yoongi wouldn’t even know where to start putting himself together again.

***

Redemption comes in odd packages, Yoongi thinks, as he looks up a case he worked on six months ago, a shady businessman on the fringe of organised crime who’d got high as a kite and beat a sex worker to death.

He’d been killed on the way to serving out his sentence in the cushy prison in Busan his fancy lawyer had managed to negotiate, crushed in the back of the transport vehicle when it had been t-boned by a lorry.

Apparently a freak accident, Yoongi doubts it but he’s also not going to look too closely, it’s out of his jurisdiction and he’s too jaded to mourn the loss of another brutal asshole. They’d had to identify the sex worker by her dental records and DNA, her face had been unrecognisable.

There’s a knock on the frosted glass panel on his office door, Yoongi looks up as Kim Namjoon walks in, followed by the latest hungry rookie angling for a stint in homicide.

‘Min Yoongi, this is Y/N L/N,’ Namjoon says. ‘She’s a new transfer in from the Seoul branch.’

Yoongi doesn’t have to fake his disinterest as he nods politely at you.

‘What’s the case?’ he asks.

Namjoon looks pointedly at the crime scene photo blown up on Yoongi’s screen.

Yoongi waits.

He can feel your gaze on him, but he’ll get to that later.

The anticipation of a new case never gets old, he’s been in homicide since he graduated off the beat ten years ago and he no longer thinks it’s sick of him to get excited about another murder.

It’s the thrill of the hunt that he lives for, the translation of nebulous facts and witness statements into a puzzle that he can solve.

Yoongi’s damn good at his job. It almost makes the sacrifices in the rest of his so-called life worth it.

Namjoon hands Yoongi a case file, crisp, sharp edges waiting to razor his fingertips open. Flat.

Inside, the standard cover page, then a note that makes Yoongi sit up straight out of his slouch.

He looks at Namjoon to find Namjoon’s already looking at him.

‘The reaper of Seoul?’

Yoongi realises as he says the words out loud how it sounds.

The capture and subsequent conviction of the serial killer who’d terrorised the citizens of Seoul for three years had made headlines nationwide.

Last year.

‘Yeah,’ Namjoon says, the tension in his jaw evident now that Yoongi’s looking at him properly.

Namjoon glances at you. ‘It would seem he never left.’

You shift your weight and your eyes meet Yoongi’s.

‘My partner and I broke the case,’ you say. There’s a brittle smoothness to your voice that Yoongi recognises as a paper thin facade over the hauntedness underneath. ‘Turns out we didn’t.’

***

The note in the case file is a single sheet of letter paper, lined in blue.

The handwriting is precise, neat between the lines.

Oh dear.

Better luck this time?

Best regards from your neighbourhood Reaper.

Yoongi looks at you, sitting across the room at the desk Hoseok’s temporarily vacated.

You’re staring at your screen, face backlit in blue, expression unreadable. You’re in black, nondescript knitwear, your hair pushed back from your face, eyes narrowed.

He clears his throat. ‘You worked the case with your partner.’

It’s a statement you answer to like a question.

‘It was the first case I picked up when I joined homicide,’ you say, turning to Yoongi. ‘It started with -‘

‘Kim Seulgi,’ Yoongi says.

You nod, almost grimacing at the name of the Seoul Reaper’s first high profile victim.

‘Her family wanted answers.’

Kim Seulgi had been born of Seoul’s elite, an architect with her grandfather’s firm who had picked up a number of accolades for her work on the National Opera House.

She’d been engaged to an equally accomplished classical pianist, Jeong Minho, and had been the only offspring of her wealthy parents.

She’d disappeared three days before her wedding, only to turn up on her wedding day, floating in the Hangang, dressed in the clothes she’d disappeared in.

You say, ‘She was an ambitious first target.’

‘Was she the first?’ Yoongi asks.

The flicker in your eyes tells him this isn’t the first time you’ve considered this.

‘My partner Kiho.’ There’s strain in your voice. You start again. ‘My partner, Kiho, and I thought he’d killed before.’

You shrug. ‘The captain felt we were wasting time looking back into his early years.’

Yoongi says, neutral, ‘Budgets are limited, your case must have passed the thresholds for plausible deniability.’

‘It seemed to fit,’ you agree.

Your eyes meet again. ‘Not all of it, though.’

Yoongi knows, intimately, what it’s like to not be certain. Sometimes all you have is your instinct. It’s one thing to build a case no reasonable person would doubt, but you’re also betting on your gut. You’re betting on being a good enough detective to know that the pieces fit, without forcing them to fit.

You’re betting on being honest with yourself, and Yoongi knows more than anyone how tempting the lies can be.

Now you’re the one watching him, taking the measure of him.

His email pings.

‘That’s the link to the full case file,’ you say.

You get up, carry a stack of notebooks to his desk.

‘Our notebooks,’ you say.

Yoongi looks at the stack.

Every cop’s got their own collection of notebooks, raw data and impressions that don’t always make it into official reports.

The equivalent of dirty underwear when you’re not expecting company versus lingerie when you’re down to fuck.

This close, he can smell your shampoo, bright and faintly floral.

You blink at him.

‘I need to sort something with human resources,’ you say. ‘I’ll see you later.’

In actual fact it’s 36 hours later when he next sees you, at 4am, at a crime scene.

***

The rain falling is more than a drizzle, enough that the tent around the victim is the first priority.

There’s an imprint of violence in the air, Yoongi knows you feel it too by the way your lips tighten as you duck under the yellow tape to join him.

You nod at him in greeting, then there’s silence as you enter the tent.

The victim’s on her front, face turned to the right, hand tucked under her cheek.

She hasn’t been dead long enough for livedo to set in, she would almost look asleep if it weren’t for the purple of her lips, the greyness to her complexion.

The bath of blood she’s lying in.

Yoongi can just see the edge of the gaping wound on her neck.

You wait until forensics turns her body over.

The top three buttons of her silk blouse are undone, her chest slick with blood.

Yoongi’s reading the crime scene like he’s reading you, and he knows what you’re going to say before you say it.

‘It’s him,’ you breathe. The devastation in your eyes makes it difficult for him to look at you. ‘Fuck, it’s him.’

***

You’re shivering visibly despite the hot coffee Yoongi’s poured you, despite the fact that he’s turned the heating in his ancient Hyundai up as far as it’ll go.

There are droplets of water in your hair, sparkling incongruously in the gloom.

You’re waiting till first light to knock on neighbourhood doors, the victim was found in a quiet cul-de-sac.

Two minutes from her own front door.

Not much chills Yoongi these days but that fact does make him pause.

The audacity of it.

He says, ‘I have a blanket in the trunk.’

You’re protesting but Yoongi gets back out in the rain anyway, grabs the blanket and gets back in.

Hands it to you, takes your cup as you drape the blanket around yourself.

‘It gets colder here than Seoul,’ Yoongi offers, handing you your coffee back.

‘We fucked it up,’ you say, and Yoongi knows that’s what you’ve been thinking since you saw the body.

He’s just been waiting for you to be ready to say it.

‘So make it right,’ he says, simple.

‘An innocent man’s in prison because Kiho and I fucked up,’ you say.

Yoongi doesn’t want to minimise it but he doubts the man you put away was completely innocent.

‘I read your notebooks,’ he says. ‘Who’s Jeon Bogyeol?’

There had been twelve murders before the arrest. All women in their late twenties to mid thirties, all living alone.

They’d all lived in the same part of Seoul, but apart from that there was nothing to link them that he could find.

You look at him warily. ‘He was a night watchman at the apartments of seven of the women.’

Yoongi waits.

‘We cross-referenced staff at all the addresses, and his name kept coming up. Like Jang Daeseong.’

You flinch at the name of the man convicted of the murders, as though it didn’t fall from your own lips.

You keep talking, though, your voice never faltering. ‘We never found any links between Jeon Bogyeol and the other five women.’

‘Did he have a history?’ Yoongi asks. He’s looking out the window at the first rays of sunrise, muted orange through the rain. His shoulder aches, an old injury he doesn’t think about except when he’s tired, and cold.

‘There was a neighbour,’ you say. You’re chewing on your bottom lip, a tell Yoongi’s noticed for the first time tonight.

‘She called the police once saying she’d seen Bogyeol taking a woman into his apartment against her will.’

You’re frowning. ‘The beat cops who responded to the call out said there was no sign of anyone else in his apartment. The neighbour moved away.’

‘Moved away?’ Yoongi asks, and you glance at him, understanding the sharpness in his tone.

‘I was going to look into it when the Chief shut us down,’ you say. It’s stated simply, like a fact, no sign of defensiveness.

Yoongi offers you more coffee from his flask.

‘Where’s Bogyeol now?’

‘When the new letter came in I looked him up,’ you say. The steam rising from your cup obscures part of your expression for a moment, but Yoongi can hear the tremor in your voice.

‘He’s less than fifty miles east of here.’

Dawn’s breaking, the rain’s finally starting to peter out, but Yoongi’s chilled anyway.

***

The morning sun is high in the sky by the time Yoongi and you finish interviewing the neighbours and the new victim’s friends and family.

Yoongi’s phone rings. It’s Namjoon.

‘Can you talk?’ Namjoon asks.

Yoongi mouths ‘Namjoon’ in response to your inquiring expression, puts some distance between you and him.

‘Yeah,’ he answers.

‘The post-mortem results are back, and the preliminary tox screen is negative. The ME’s put the cause of death as exsanguination.’

Yoongi processes this. ‘It’s the same MO as the previous Seoul reaper victims,’ he says.

Namjoon sighs. ‘Has anything new come out of your interviews?’

‘No,’ Yoongi says. The victim had been well-liked, none of the neighbours had seen or heard anything, and on the surface of it there were no conflicts he could see. Her boyfriend of two years had been away on a work trip, his location confirmed around the window of the crime.

Yoongi’s looking at you as you wait against the car, and when your name comes out of Namjoon’s mouth he’s already got an inkling of what Namjoon wants to know.

‘I reviewed the case,’ Namjoon says. ‘There are no obvious flaws or errors in their investigation.’

Yoongi grunts. ‘There was a lead that they didn’t follow up on.’

He fills Namjoon in.

‘I’ll follow it up.’

Namjoon says, thoughtfully, ‘I wonder where her partner’s working now.’

Yoongi’s surprised Namjoon doesn’t already know, to be honest, he’s always two steps ahead of Yoongi.

He flicks his gaze to you again. You’re still waiting against the car, and there’s a loneliness to your posture, a fatigued downturn to your mouth that makes him say, ‘Hey Joon, I’ll call you back, ok?’

He ends the call, unlocks the car.

‘We should get back and compare notes,’ Yoongi says. His voice has dropped the way it does when he’s tired, and shit, he is tired. He hasn’t slept well for a while.

‘Let me drive,’ you offer. You take his keys, and your fingers brush his for an instant.

The contact, brief though it is, makes Yoongi’s skin tingle.

He wonders if you notice his reaction, but you’re already sliding in, adjusting the seat, starting up the car.

***

Yoongi wakes when you’re parking the car, sits up, a little embarrassed.

‘I’m sorry,’ he says, looking to gauge your reaction.

‘Don’t be,’ you reply. ‘I would have done the same if you’d driven.’

There’s a hint of mischief in the curve of your half-smile.

‘You mumble in your sleep.’

Yoongi rubs a hand over his face. ‘What’d I say?’

‘I couldn’t make out any words,’ you tell him, but there’s a twinkle in your eye that makes him wonder if that’s really true.

Mara is the only person who’s shared his bed in recent years, and she’d never mentioned anything.

You swipe your ID to get into the station, hit the lifts.

In the dire grey lighting you look almost as tired as he does.

‘Coffee?’ Yoongi offers, when you pass the vending machine on the way to the office.

‘Yeah,’ you say. You’re on your phone, frowning over a text.

Yoongi passes you a cup.

‘Problem?’ he asks.

‘Kiho,’ you say. You look at him. ‘My old partner. He wants to meet up.’

‘It’d be useful to talk through the case with him,’ Yoongi agrees.

Your expression is difficult to read. ‘He’s in a retreat a couple hours drive from here. He took time off after we closed the case.’

Yoongi gulps his coffee. ‘There isn’t anything else we can do here anyway, we’re waiting on leads.’

He reaches out his hand for the car keys. ‘I can drive.’

***

The retreat Kiho is staying in is set amongst the foothills of a mountain, rolling grounds all around, a view of the cliffs overlooking the sea.

It seems to Yoongi like a place only the very rich or the very damaged would live.

Unless you get better pay packets in Seoul he’s apprehensive about meeting Kiho.

You sign in at the front desk, the receptionist greets you warmly, like she’s met you a few times before.

You lead Yoongi through a huge lounge, through open patio doors and into a green. Yoongi’s looking around at the residents, scanning the area the way he does automatically whenever he’s in an unfamiliar place.

You’re waving a hand, and then you’re embracing a tall man tightly. Neither of you say anything but Yoongi can see the way your shoulders slump, like the tension’s draining out of you.

It’s only when the tall man looks up at Yoongi inquiringly that Yoongi notices the long scar running along his neck. Tracing the path of his jugular, vertical rather than horizontal.

Kiho extends a hand.

‘So you’re going to get our guy,’ he says.

Yoongi doesn’t know what to say to that.

‘We’re going to get him,’ he says, finally.

Kiho turns to you. ‘You haven’t told him,’ he says to you.

You’re looking at Yoongi.

‘We can tell him now.’

***

‘I started getting notes after Jang Daeseong was convicted,’ you say. You’re sitting in a gazebo with Yoongi and Kiho, mugs of coffee in front of you.

Yoongi raises an eyebrow.

You flick your eyes to his, then look away, unlock your phone.

Yoongi takes your phone, scrolls through a gallery of pictures.

Lined paper, handwriting he’s seen before.

Yoongi reads through the content, then returns your phone to you.

‘The originals are with forensics,’ you tell him. ‘The paper and ink are generic, impossible to trace. There’s no trace of DNA, not so much as a partial print.’

‘The notes stopped coming last month,’ you say. ‘Right around the time I moved.’

Kiho’s scratching his neck absently, Yoongi catches how your gaze drops to his scar.

The length of it’s longer than a stab wound, he thinks the surgeons might have had to extend the scar to repair the vessels beneath.

You turn to Yoongi.

‘We have to stop him,’ you say. ‘Use me to lure him out.’

‘He nearly killed me,’ Kiho says. His expression is sober, his tone flat.

He stops there, but Yoongi can hear his next words, loud and clear.

What’s he going to do to you?

‘We can’t let him keep going like this,’ you say, very gently.

Kiho meets Yoongi’s gaze.

Yoongi doesn’t falter.

‘He has to be stopped,’ he agrees.

***

The drive back to the police station goes quicker - there’s something about seeing your old partner that’s given you a bump of energy.

Yoongi can practically feel the adrenaline fizzing in your blood, coming off you in waves.

He’s worried about the crash when the adrenaline ebbs.

He sure as fuck hopes you can cope with the lows better than he can.

He’d put in a call before you left the retreat, Namjoon’s fast tracking a last known address on the neighbour of Jeon Bogyeol who’d moved away.

You’re typing an address into the satnav yourself, face drawn, eyes serious.

Yoongi doesn’t have to ask whose address it is.

‘Are you sure you’re up to this?’ he asks.

His voice is as neutral as he can make it but he already knows that you’ve made your decision.

It’s written all over you, in the way your shoulders are squared, in the tilt of your chin, in the way your hands are tensed into fists in your lap.

‘I need to see this through, Yoongi,’ you say.

Yoongi takes a moment.

‘What happened to Kiho?’ he asks.

‘He didn’t see who it was,’ you answer. Your eyes are fixed in front of you, jaw tensed.

‘He was heading home in between shifts and he got jumped in the car park under his apartment. If he hadn’t been found by the car park attendant —‘ you voice trails off, and you shiver.

‘He was lucky the car park attendant called for help right away. That his next door neighbour, fresh off a shift in the trauma department, arrived home when she did and was there to take over. That he lives five minutes on blue lights away from the best trauma centre in Seoul.’

You look at Yoongi. ‘Kiho’s damned lucky to be alive.’

‘It’s a different injury from the reaper’s usual MO,’ Yoongi says slowly.

You nod. ‘He was toying with us.’

‘You said you received notes from the Reaper,’ Yoongi says. He’s watching you carefully in the rearview. ‘What did they say?’

Your lips press together in a line, but your voice is steady when you answer.

‘He said he’d been watching me, and that he was coming for me. That I’d be his final kill.’

***

The address you’ve put in for Jeon Bogyeol is a house in a run down suburban neighbourhood, the type of place Yoongi grew up.

The houses are haphazardly arranged, like a careless scatter on a Monopoly board, connected by a warren of roads too narrow for more than one car to pass.

Yoongi can see you tensing up the closer you get to your destination, and after he parks and switches off the engine, he places his hand on your arm.

Your eyes are expressive, more so than your voice.

‘We haven’t got grounds yet for an arrest warrant,’ you say, flat.

‘We’re working the case,’ Yoongi replies. ‘And if it’s right, we’ll work it until it’s airtight.’

Your response is to stare at him a moment, then to push open the car door.

Yoongi notices that you’ve unzipped your jacket, making your holstered gun more visible.

His own gun presses against his hip, the weight of it reminding him that although he’s only drawn it a handful of times, each time has been with intent.

He sure as fuck hopes neither of you will have reason to draw your gun today.

***

The address is little more than a shack, a rickety door that looks like it’ll give under a strong kick, a boarded up window that’s visibly cracked.

Yoongi knocks, identifies you both.

Follows procedure because he’s determined to get it all right this time.

Get the monster locked up where he belongs.

You don’t have grounds to break down the door, at least not until you go round to the back and see the pink tricycle upended in the dirt, streamers splayed tendrils of pink and white.

There isn’t much that sends Yoongi into the grey as much as the suggestion that a child might be involved.

He doesn’t really recall looking at you to confirm, just knows that one minute he’s outside in the chill and the next he’s inside the shack, gun drawn, the metallic tang of blood in the back of his throat.

There’s nowhere to hide in the empty shack, Jeon Bogyeol is gone.

You do a cursory search but both of you know you aren’t going to find your answers here.

Then Yoongi must blank out, because the next thing he hears is your voice, firm, saying his name.

He’s panting, covered in sweat, back against a wall, your hands grabbing fistfuls of his jacket to keep him upright.

He blinks, and you snap into focus. There’s ringing in his ears.

Your mouth opens, and the ringing stops. He hears your voice.

‘Let’s go, Yoongi.’

He lets you lead him out, folds himself into the passenger seat of your car, notes distantly how you put your hand on the top of the doorframe like you’re worried he’s going to bang his head.

You start the engine and then you drive, and Yoongi’s grateful that you don’t say anything at all, don’t ask for an explanation of why a fucking tricycle sent him into a tailspin.

Yoongi looks down in his lap because he’s not ready to see if you’re looking at him differently now that you’ve seen him wig out.

You put the radio on after a few minutes, stop at a drive thru after an hour.

It’s only when you hand him a coffee, silently, that he’s moved to speak.

He clears his throat, and you’re the one who speaks, still looking straight ahead, out the windscreen.

‘You don’t have to tell me. I mean, I’ll listen if you do, but you don’t have to.’

Yoongi chews on that a moment.

‘Three years ago I worked what we thought was a murder in Busan. It turned out to be an abduction.’

Yoongi laughs. There’s no humour in it.

‘We found her. She was still warm. If we’d been ten minutes quicker at figuring it out, if her fucking dad had told us about the business deal he had that had gone sour sooner, if I’d even just tried harder…’

His voice trails off.

He risks a glance at you.

You’re still not looking at him.

‘I can’t speak to whether you could have prevented it, Yoongi. All I know is that none of us come to work to do a bad job.’

Your hand lands on his forearm briefly.

‘Some days are just bad days at the office.’

It’s not the first time Yoongi’s heard it, but it’s the first time it’s been said to him with no judgement that he can hear.

***

When you get back to the precinct, Namjoon’s waiting.

He hands Yoongi another case file.

‘I got Jimin to follow up on those leads we talked about,’ Namjoon says, no preamble.

‘We visited Jeon Bogyeol’s last known address,’ you say. ‘There’s no one there now, but it hasn’t been long since he moved out.’

Namjoon says, ‘Keep me informed.’

He nods to the case file. ‘There’s some interesting information in there.’

As Namjoon walks off, you turn to Yoongi.

‘I’m going down to visit someone I know in forensics, see if they can check the house.’

Yoongi heads for your joint office.

There’s a cleaning cart parked just outside the door, which opens just as Yoongi reaches for the doorknob.

The cleaner apologises and bows politely.

Yoongi steps aside to let her pass.

‘You forgot this,’ he says, spotting the dusting cloth left on your desk.

He hands it to her and places the file on his desk.

Outside, it’s raining again.

***

Yoongi wakes with a jolt.

You’re perched on the edge of his desk.

‘You should go home, get some sleep.’

‘In the middle of an active murder investigation?’ Yoongi mumbles.

‘I’m one of the potential targets, remember?’ you say, grimacing. ‘He might come to us.’

At Yoongi’s expression, you say, ‘We’ve been doing nothing but following up leads since the last murder. The last investigation took months, almost a year. What are you going to do, not sleep until he’s caught?’

‘I don’t sleep much anyway,’ Yoongi says, but he knows you’re right.

‘I know you don’t,’ you reply. There’s an empathy in your tone that reminds him you’re a homicide detective too.

You exchange a look, and then you both speak at the same time.

‘I should go —‘

‘Do you like wontons?’ Yoongi blurts out.

You raise an eyebrow. ‘Is this like inviting me in for ramen?’

‘What?’ Yoongi splutters. ‘No, not like that. There’s this place I go. They have—-‘

‘Wontons, I get it,’ you say. You get up. ‘Yeah. Let’s go.’

***

It’s been a while since Yoongi shared a meal with someone else, the last person was Hoseok, who could go straight from a crime scene to a steakhouse without turning a hair.

You’re chasing a wonton around your plate, fatigue lining the corners of your mouth.

Yoongi asks, ‘Where do you live?’

‘The other side of town,’ you tell him. ‘Near the financial district.’

‘Fancy,’ Yoongi muses.

‘More than I can afford,’ you say darkly. ‘If this case goes on for a while I’m going to need to move.’

You look up at him. ‘Where do you live?’

‘Close to here,’ Yoongi says.

‘Yeah?’

You put your chopsticks down. ‘I should —-‘

This time, Yoongi interrupts.

‘Do you want to come round for ramen?’

Your eyes meet, and there’s a beat of silence. Then a pulse of connection that sends heat through Yoongi’s veins.

Your knee brushes his under the table.

‘Yeah,’ you answer, deliberate. ‘Fuck, yeah.’

***

Yoongi’s always hated the preamble to a hookup, in his line of work uncertainty is a thing to be avoided.

You work the case until you get an explanation no reasonable person would doubt.

He finds himself waiting, though, now that you’re standing in his apartment.

You’re looking around, and he wonders if his existence seems as lonely on the outside as it feels on the inside.

He’s wondering if you’ve changed your mind, if you really did think he meant ramen, when you reach out and grasp the front of his shirt.

Slip the tips of your fingers just under, hold the placket as you use your other hand to unbutton. Start at his throat, work your way down, slowly.

His skin prickles under the warmth of your fingers.

You lean forward and press a kiss to the base of his neck.

Yoongi reaches up, slides a hand around the nape of your neck, and you tilt your face to his.

Close up, you’re soft.

Yoongi traces your bottom lip with his thumb, and your lips part.

You don’t say anything, though, and that’s ok, because Yoongi thinks you’re as talked out as he is.

It’s been a hell of a fucking day.

You’re kissing his neck again, instead of his mouth, and that’s ok, because this isn’t love, it’s comfort.

A human connection in a day filled with monsters.

Yoongi sighs as your hands slip over his bare chest, round to his back.

He helps you lift your top over your head, admires your breasts, nipples pressing against the fabric of your bra.

He cups the weight of them in his hands, and you moan.

Yoongi’s cock is filling out, and you’re undoing his belt like you want to see for yourself.

You drop to your knees in front of him, press your mouth onto the length of him over his boxer briefs, sigh with pleasure.

‘Not too much,’ Yoongi warns, ‘not if you want me to fuck you.’

You look up at him, hair mussed, a smile curving your lips.

You tug his boxer briefs down, and Yoongi curls a hand around himself so as not to hit you in the face.

‘Just let me —‘

You open your mouth to take him in, and Yoongi groans at the feel of your warmth.

When did he last —

His crown nudges the back of your throat, and you swallow, and he loses his train of thought.

He grabs your shoulder, tugs you up, kisses the smear of his own stickiness at the corner of your mouth.

The light slanting in through the window is hues of gold and orange, filling in the hollows of your face, outlining the curves of your body.

Yoongi has to stop looking at you because he doesn’t want to cry at how much he’s missed being close to someone like this.

‘Where do you want me?’ he asks, voice taut.

‘Anywhere,’ you say. ‘Just turn these fucking lights out.’

***

In the dark, Yoongi’s most enraptured by the warmth of you.

Your skin is smooth, so soft under his hands as he wraps his fingers around the curve of your hips.

His cock glides in and out of the heat between your legs, and your moans are beautiful but what really gets him are the hitches in your breathing as he moves.

He turns you over, onto your back, and you pull him to you. Your mouth opens on his shoulder in what would be a kiss if you weren’t biting down. Your tongue flicks over his bruised skin, an apology.

You haven’t spoken to each other in words in a while but Yoongi doesn’t think either of you need words right now.

At least he doesn’t.

You’re tightening around his cock now, your cries quickening until you gasp his name in a tone that makes him grunt and his hips jerk, taking him deep as he can go.

Even in his pleasure he makes sure not to crush you as he collapses next to you.

Then you’re up, walking over to the window, pulling up the sash, lighting a cigarette without asking if he’s ok with it.

Yoongi admires the outline of your profile against the glass.

‘I needed that,’ you say, taking a drag, hunching a little to blow smoke out of his window.

‘Me too,’ Yoongi says, honestly.

He ties off the condom, gets up to toss it in the trash on top of yesterday’s takeout.

Pours you a glass of water on his way back to bed.

He half expects you to be dressed, and you are, but in his clothes, not your own, an old t-shirt he’d tossed on the chair by the bed yesterday morning before he left for work.

He can’t see your face clearly in the dark. It makes it easy to find his voice.

‘You should stay,’ he says. ‘We can get coffee in the morning.’

You’re quiet. ‘I want to.’

Yoongi climbs into bed, and after a moment you slide in next to him.

Your bodies aren’t touching at all, but somehow having you there with him is enough.

Yoongi means to check on you, but he’s asleep so quickly he doesn’t get a chance to.

***

There’s a basketball hoop set into the wall in the back end of the station, a concrete square with a chain-link fence.

The building opposite is a block of offices, as is the building next to it.

Yoongi makes the shot, and you grab the ball on its first bounce.

You say, ‘Forensics got nothing from Jeon Bogyeol’s shack. He bleached the shit out of the place before he left.’

Yoongi grunts, watches you point and shoot.

He’d read through the file Namjoon gave him on the neighbour - it’s incomplete but she was last seen alive twelve weeks ago in a coastal town.

There’s something niggling at the back of his brain, he’d suggested shooting hoops in the hopes that the activity might shake the thought loose so his conscious mind can make the connection.

His phone vibrates in his pocket.

Namjoon.

‘I’m going up to see Namjoon,’ he says. ‘You coming?’

‘I’ll stay here for a bit,’ you say. ‘I’ll be up in a sec.’

Yoongi shrugs, lets himself back in.

Takes the stairs up to Namjoon’s office on the third floor.

There’s a cleaning cart parked next to the staff kitchen as he rounds the corner.

Yoongi’s about to knock on Namjoon’s door when his scattered thoughts crystallise.

The case file Namjoon had given him had a grainy photo of Jeon Bogyeol’s neighbour, the one who’d reported him and then disappeared.

He’s seen her face before, and recently.

Coming out of your office.

‘Fuck,’ he swears.

He grabs his phone out of his pocket, dials your number.

Your phone rings, and rings.

Yoongi takes off, down the stairs, back the way he came.

By the time he bursts out of the back door of the station, gun drawn, his heart’s thumping triple speed, but his hand is steady as he aims it at the man with a knife standing over you.

His finger goes from trigger guard to trigger.

‘Fucking drop it,’ Yoongi warns.

He doesn’t, so Yoongi shoots.

***

Jeon Bogyeol’s neighbour who had reported him was called Seo Hyerin.

She was in her early forties, an ex-teacher who he’d coerced into helping him by turning up at her new place even after she’d moved to get away from him.

She’d been too scared to disobey him, but in forcing her to help him, Jeon Bogyeol had given her access to enough information to clinch the case against him.

Once she’d found out he’d been shot and was likely to go straight from hospital to prison, she’d shared all that information with Yoongi and you.

The pieces fell into place so easily there was no need to make any of it fit.

And now Yoongi’s sitting in the kitchen of your apartment, watching as you pack things up.

He’d been right. Your place was fancy.

You were being transferred back to Seoul to finish up, see things through with the case.

He realises you’re looking at him.

‘My new place is a couple hours drive from here,’ you say.

‘Yeah?’ Yoongi says, like he hadn’t already looked it up.

He’d also looked up timed automated cat food dispensers, just because it was one thing to have a neighbour drop in and feed Kenzo if he’s stuck with a case occasionally, but it’s another thing if he’s regularly going to be driving down to see you.

If he’s regularly going to be spending the night away.

It’s uncharacteristic, for him, but he’s hopeful.

‘I slept pretty well that time,’ you say, looking down into your box.

You look up at him, and the curve of your lips makes Yoongi think to himself that he’d like to kiss you, sometime.

‘In your apartment,’ you clarify, like he wouldn’t already know.

‘I make good ramen,’ Yoongi says. ‘I can make it again for you, you know.’

You laugh, and the sound makes Yoongi feel warm.

He realises that he’s smiling.

Fuck, it’s been a while.

[incorrectbatfam]

It's movie night but they can't use the home cinema, what do they do?

[week 1]

Bruce: Thanks for letting us use your place for movie night while we fix that leak at home.

Dick: No problem. Besides, I have plenty of snacks and the director's cut of Dumbo.

Everyone: *gathers around*

Dick: *puts on the movie*

~ 10 minutes in ~

*beep* *beep* *beep* *beep*

Tim: My crime alert's going off.

Harper: Mine too.

Duke: Must be big.

Bruce: Suit up and rendezvous in three.

Dick: *sighs and pauses the movie*

Dick: Can't get one night in this damn city.

———————

[week 2]

Tim: Steph, why are we at a karaoke lounge?

Steph: I know the owner's cousin's hairdresser's dog walker's sister's girlfriend and I convinced them to let us use the party room. Don't worry, it's just like a TV screen.

Steph: *puts on Pitch Perfect*

Steph: Ooh, I love this part.

Steph: *grabs a mic and starts singing*

Everyone:

Damian: *stuffs napkins in his ears*

———————

[week 3]

Jason: Since we decided on Pride and Prejudice, I thought I could play it at my safehouse.

Dick: Sweet, thanks!

Jason: *unlocks the door*

Dick: *tries to step in*

Jason: *stops him*

Jason: I said I could play it. I never said you could come in. I don't want your you-ness all over my new stuff.

Bruce: Jason, be reasonable.

Harper: Yeah, you got this junk off the side of the road.

Jason: My junk, my rules.

Tim: Then what are we supposed to do?

Jason: Fire escape's around the back. You'll get a decent glance.

~ 20 minutes later ~

Dick: *leans his head in to hear better*

Jason: My air, my rules.

Jason: *closes the window*

———————

[week 4]

Bruce: Cass, it's your turn. Got the movie?

Cass: *nods and plays Rambo on her computer*

Barbara: Uh, why isn't there any sound?

Cass: Volume button broke. Just read lips.

Jason: Kinda hard to do that with the brightness at zero. Did that stop working too?

Duke: Looks fine to me.

Jason: Shut up, Flashlight.

———————

[week 5]

Tim: I brought my entire Star Wars collection.

Bruce, dodging a space laser: Not the time.

Tim: Okay.

Bruce: *punches an alien robot*

Tim: How about now?

———————

[week 6]

Barbara: Sorry I got a cold, but at least we can still have movie night on Zoom. I torrented a copy of The Matrix.

Barbara: *shares her screen*

*movie plays*

Barbara: *leaves herself unmuted*

Barbara: *starts crinkling Sun Chips*

———————

[week 7]

Everyone: *crowd around Damian's phone watching My Neighbor Totoro*

Bette: Why is your phone so small?

Damian: I have tiny hands.

———————

[week 8]

Harper: Because we're watching Cars this week, I thought I could put together an all-immersive experience.

Bruce: BY LOCKING US IN A RUNAWAY SEMI-TRUCK?!?

———————

[week 9]

Duke: I called this company and since we're heroes, they're letting us use their electronic billboard for this week's movie at a huge discount. Kill Bill should be coming on right about...

*movie starts playing*

Jason: Not bad, Narrows.

*billboard switches to an ad*

———————

[week 10]

Carrie: Since Steamboat Willie is now public domain, I thought we could do something different tonight.

Carrie: *pulls out a flipbook*

———————

[week 11]

Everyone: *watching Love, Simon in a dark living room*

*lights flick on*

Apollo and Midnighter: *standing there in date night outfits*

Steph: Um, Cullen, who are these guys?

Cullen: *laughs nervously*

Cullen: Everyone, meet Apollo and Midnighter. They're kinda-sorta my gay uncles and we're kinda-sorta in their apartment and I kinda-sorta didn't expect them to come back early.

Midnighter: Remind me why we gave you a spare key?

———————

[week 12]

Kate: *sets up a projector and plays Glass Onion*

Bruce: Kate, this is a crime scene.

Kate: The fun part's already done, let Gordon do cleanup this time.

———————

[week 13]

Alfred: Back in my day, we did not rely on scrupulous use of technology. Which is why I propose watching a classic Sherlock Holmes tale on a classic instrument.

Alfred: *pulls out a zoetrope*

Steph: Anyone know what that is?

Dick: Not a clue.

———————

[week 14]

Luke: Nothing like a good ol' drive-in movie. Great idea, Helena.

Helena: I know, and the Godfather is perfect for this.

*Batmobile crashes through the screen*

Steph: Sorry we're late.

Duke: I'm still figuring out the PRINDL.

———————

[week 15]

*TV playing the Aristocats*

Bruce, trying to flirt: I like what you've done with the curtains.

Selina: Thanks, but it was Snowball's after-dinner surprise.

*TV blinks off*

Tim: Hey, what gives?

Selina: *takes a chewed-up cord out of a cat's mouth*

Selina, sighing: This is why I married rich.

———————

[week 16]

Luke: May I present the ultimate Snakes On A Plane drone show!

*phone rings*

Luke: Hello? ... Yes, this is he. ... Mhm. ... Yep. ... Okay.

Luke: Never mind, the FAA says I can't.

———————

[week 17]

Everyone: *watching Legally Blonde at Bette's place*

*dogs barking*

*sirens*

*loud music*

*car honk*

*neighbors shouting*

Bette: Sorry, we have thin walls.

Bruce, shrugging: Eh, still not as bad as HOA.

———————

[week 18]

Damian: Where is movie night this time, Father?

Barbara: My money's on another crime scene.

Bruce: Actually, I rented out the theater just for us and they're playing a special edition of The Mark of Zorro. Everyone got their snacks?

Duke: Popcorn, check.

Cass: Licorice, check.

Steph: M&Ms are obviously the right answer by the way.

Dick: I got a slushee.

Jason: I got the slushee machine.

Bruce: Alright then, take your seats. The movie's about to begin.

*movie plays*

*Rogues break in, make a mess, and leave*

Bruce:

Bruce:

Bruce: I miss my parents.

[urfavlarry]

now... can we get that jealous Aiden but with Tyler?

Thank you❤

Jealous!Tyler Hernández x gn!reader

warnings: swearing, bad grammar, kinda short

summary: you got to a basketball court with Tyler, his teammates coming along as well when one of them decides to be a bit too touchy

A/N: i know he plays baseball but I made him play basketball for this fic haha

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You sat in the shade on the bleachers, watching Tyler and his teammates practice for an upcoming match with another school. You believed in them since they played with that school before and to say they were kinda bad was an understatement. You take some photos of Tyler in secret, and smile down at your phone. “How is he always so effortlessly pretty?” You think to yourself and put your phone away and decide to draw. You weren’t half bad at drawing, mostly drawing backgrounds and clothing designs. You were in your own world, lost in your thought when you feel a presence next to you. You look up to see one of Tylers teammates who was watching you with a smile. You smile awkwardly and wave; “Hey..?” You say hesitantly and close your sketchbook. “Hey, you’re Y/N right?” You nod and pray for this awkward interaction to end. “Yep, that’s.. uh.. that’s me.” You say and fiddle with your fingers, eying Tyler who was on the other side of the court.

The guy inches closer to you, putting an arm around your waist and your whole body stiffens. Your mind goes blank and every muscle in your body is as stiff as a rock. “Why are you here all alone? Why not come and play with us?” He asks and smiles at you, this fake, eerie smile. “Oh, I don’t really know how to play.” You quickly answer and try to keep distance between you but this guy really didn’t know what personal space is. “I could teach you..” He grabs your wrists and puts his chin on your shoulder. “When you wanna shoot for the hoop you put one arm here.” He guides your arm down and puts the other higher than the other. “Then when you want to throw it you do..” He gets cut off by someone yelling his name and he lifts his chin up to look in that direction. He doesn’t let go of your wrists and you just look down, feeling humiliated. “What the fuck do you think you’re doing, huh?” You hear an oh so familiar voice that you love so much and thank the gods that sent this angel to your rescue aka Tyler. “Hey, I was just teaching them how to play man, what are you so mad about hm? You’re acting like they’re your partner.” Tyler looks at him with a pissed of expression, pushing him off of you.

“Hey the fuck?!” The guy yells as you quickly gather your things and get off the bleachers. The guy was quite aggressive and pushed Tyler back, earning another push from Tyler. That seemed to even worsen the situation and the guy punched Tyler right in the nose. “Oh hell no.” Tyler says and throws the guy down, punching him repeatedly. There was blood everywhere, Tyler finally stopping after he heard a satisfying crack from the guys nose.

Tyler rubs the blood off his nose and grabs your wrist and leaves the court. You walk with him, staying quiet the whole way to his house. He unlocks the door and walks upstairs into the bathroom. “Sit.” You tell him and he looks at you and softens his expression, still kinda annoyed. You grab the first aid kit and grab bandages and some rubbing alcohol. You clean his bruised knuckles and wrap them in some bandages and clean his bloody nose, handing him a tissue to stop the bleeding.

You sit on the counter where the sink is and just quietly stay there, letting him collect his thoughts. It was an awkward silence so you finally decide to say something; “Hey i’m—” “Are you—” You both say at the same time and you shut your mouth so he can tell what he wants to say. He rubs his neck and waves you over so you come over, standing between his legs as he looks up at you. “Hey, I’m sorry for lashing out, I didn’t mean to make a scene.” He says and frowns a bit. You smile and kiss his forehead, bringing him into an embrace. You breath in his scent and relax under his touch. “No, it’s fine really, i’m grateful that you protected me. Another second with him and I swear he would be dead.” You say and hear a low chuckle escape his lips as he plays with your hair. You stay like that for a bit until he picks you up and walks with you to his room. He closes the door behind him and lays you down on the bed, laying down on top of you. He mumbles sweet nothings into your ear, kissing your neck. You rub his back look up at the ceiling, lost in thought. Tyler notices that you were a bit too quiet and looks up; “Hey you okay amor?” You nod and simply smile, still not looking at him. “I’m fine, just thinking about how lucky I am to have you as a boyfriend.” He smiles and peppers your face with kisses, making you giggle. “And I’m lucky to have the best partner in the world.”

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[rpclefairy]

𝐁𝐆𝟑 𝐜𝐨𝐦𝐩𝐚𝐧𝐢𝐨𝐧 𝐛𝐚𝐧𝐭𝐞𝐫 𝐬𝐭𝐚𝐫𝐭𝐞𝐫𝐬.

a selection of lines from the various companions' banter quotes (not cut scene dialogues!) from baldur's gate 3. these are generally spoiler free and non context specific so they can apply to different settings and dynamics! feel free to change names and the like to customize the prompts.

“Death can't have me. Not yet…”

“Calm yourself. There is plenty of me to go around.”

“Realmspace is vast. Countless worlds to be mapped, kingdoms to be conquered.”

“I have missed this. The adventure. The danger. The kicking of butts!

“Let me guess - you need something.”

“Such attention.. I never realised I was so popular.”

“Let's cook with fire, baby.”

“Do you intend to vocalise every thought?. Or just the most obvious ones?”

“Wherever we go, ye gods let there be something green.”

“Careful, or I will take your toy away from you.”

“Watch your elders and learn.”

“Perhaps try attacking the enemy?”

“So much we don't know, lingering in the furthest reaches of existence.”

“All the world's my stage and you're just a player in it.”

“The shadows are my friend.”

“Yes, yes, have your fun. It isn't you they're trying to kill.”

“Feet planted firmly on Faerûn, please.”

“Admirable stamina, yet terrible priorities.”

“Well you certainly have the 'omnipresent' part down, don't you?”

“I am ready, whatever may come.”

“My faith protects me.”

“Need a throat slitting?”

“Death greets us all - but not today.”

“You need my expertise?”

“Can you feel death's cold grip?”

“So many stars, so many mysteries yet to be discovered.”

“Death comes quietly.”

“And I thought we were going to be friends.”

“Locked tight, but there must be some way to open it.”

“No, you can't die. Get up, damn you!

“You had my attention, now you have my fury.”

“From silence to suffering.”

“So many worlds out there. You'd need a thousand lifetimes to see them all - more.”

“I hope this is important. For your sake.”

“Let them gaze deep into their own abyss, and wonder just what it is they are trying to achieve.”

“I ought to just burn this whole thing down.”

“We have slightly more pressing matters to attend to.���

“You have still have time to surrender.”

“Every kicked buttock, another step on the path.”

“Weave save me. I can't take much more…

“You are right to fear me.”

“Let me look around. Might be something that'll help me crack this thing.”

“Incredible, to think how many worlds exist beyond this tiny speck within a speck I call home.”

“I really wish I could cast a Hold spell on you.”

“I can fawn over my face later.”

“Ready for another round?”

“Keep your blade close.”

“I can't unlock it from here, but there must be a switch or a button somewhere…”

“No, that's not moving. There must be a way to open it somewhere.”

“Battle favours the fearless.”

“Sleep with one eye open, evil. Maybe both.”

“Gotta be something around here to unlock this thing.”

“Why do beautiful people taste better?. It hardly seems fair on the ugly - they have such wonderful personalities.”

“Oh, calm down. I'm happy to see you too.”

“Just go for the Magic Missile and fire away. Never fails.”

“Still standing, no matter what you heard.”

“Enough waiting. I crave blood.”

“Hang on - I won't allow this. You aren't dead, go it?”

“GODS, it's HOT in here!”

“No rest for the wicked, I see.”

“Better to hide than fight, sometimes.”

“Would that I could hide from you, too.”

“Are you feeling lonely, perhaps?”

“There is no right or wrong, only truth.”

“Battle is afoot - you can poke me once we are safe.”

“What good all this ethereal eladrin blood if I can still get pimples?”

“I should've been a drow. They have such stylish armour.”

“I am armed! Armoured! And entirely sick of your foolishness.”

“Let's have some fun.”

“War is an old woman's game.”

“No rest, be you wicked or wise.”

“I'm getting too old for this nonsense.”

“I would poke you back, but I fear that's what you want.”

“You have my attention - now do something with it.”

“You are insistent, are you not?”

“Do what must be done.”

“Your suffering will be spectacular.”

“Lest I sit down for a rest and not rise again.”

“Better to look evil in the eye. Even if it be very small.”

“I'm not built to crouch.”

“I think I could go another round.”

“Always the same old song.”

“Is perfection too much to ask?”

“Eyes on victory, tummy on dinner.”

“So many places to be.. and I chose Baldur's Gate.”

“I'm not opening that. Not from here, at any rate.”

“What is the point, if not victory?”

“Won't last much longer like this.”

“Let's hope the locals are friendly.”

“Let us show them how it's done.”

“Weapons high. Standards higher.”

“Must everyone be so exhausting?”

“What I would not give for a chunk of fresh honeycomb…”

“Which way to the nearest library?”

“Now this is my happy place.”

“Who shall I silence?”

“Stop, or die.”

“Wear your scars proudly.”

[peachdues]

y’all horny.

Enjoy a cut smut scene from The Great War, featuring Giyuu’s unlocked creampie kink.

MDNI. Explicit sexual content below.

His eyes fixed hard on the single bead of white that dribbled out of her sex, trailing down the curve of her backside before staining the silk of the kimono spread out below her. Curious, he traced the path it left with his finger, smearing it against her skin.

“Can you feel it?” He sat back on his knees, eyes still glued to his fiancé’s glistening core. “Can you still feel me inside you?”

Her eyebrows drew together in concentration, and she shifted her legs, slowly relaxing one to lay flat on the floor, the other still bent at her knee.

Her eyes widened. “Yes,” and Giyuu felt something smug and prideful roar to life in his chest as he watched her thighs tense. “It’s warm; very warm.” She bit her lip. “But — I think it’s leaking out.”

“Does it — do you like it?” Giyuu’s gaze dropped back down to where another thin stream of milky white escaped down the underside of her thigh. “Do you like how it feels?”

He knew he most certainly liked how it looked — a corporeal reminder that she’d chosen him, waited for him to return and allowed him to make her his once more.

That she’d accepted him — all of him — without reservation.

Greedily, Giyuu danced his fingers along her inner thigh eager to seek her out once more. He glanced back up at his fiancé and saw that her cheeks had turned bright pink.

“Yes,” her eyes did not dare leave his, even as she mashed her lips together as Giyuu pressed the pads of his fingers against her entrance in an effort to keep his seed inside her. “It reminds me this is real, and not just some desperate dream I’ve conjured.”

“It’s real,” he covered her body with his, catching her lips in a feverish kiss, savoring her responding moan. “It is real, and we are here, together; and I will never part from you again.”

Against her hip, Y/N felt his cock begin to stiffen once more. “Let me show you,” he implored her, his hand skirting down the outside of her thigh, coaxing one of her legs to hook over his shoulder, before stretching to do the same with the other.

With his weight pressing down against the underside of her thighs, pushing her knees nearly to her chest, Giyuu reached between them and gripped his hardened length.

“Let me show you,” he repeated again. “Let me fill you again, my treasure. I will do it as many times as necessary — even if it takes all night — if only to show you how real this is.”

He pressed the head of his cock against her entrance, and Y/N cried out, her hands flying to grip his hips as she urged him closer. Above her, Giyuu shifted so his weight pushed her legs flush against her chest, her hips lifting off the floor of his engawa. With a small whine, Y/N’s hold on his hips tightened and then she was pulling him into her once more, the slickness left behind by their previous climaxes allowing her to take him to the hilt without resistance.

Once he was fully sheathed within her warmth, Y/N adjusted her hold on him, moving her hands from their place at his hips to behind him, letting her fingers dig into the firmness of his backside as she held him flush against her.

“Fuck.” Giyuu moaned, bracing his arm against the wood over her head. Y/N’s knees were almost resting near her ears, yet she only pushed harder against his rear, her nails sinking into his skin in a silent command to move.

His groin pressed flush against her core, the former Water Pillar began rolling his hips, each movement pushing his cock deeper and deeper into his beloved’s euphoric heat.

“I’ll show you,” he promised her, their foreheads pressed together. “I’ll show you how this is real.”

He ground against her, hard, prompting a stifled squeak from the Shrine Maiden below him, her eyes large and locked with his.

Giyuu’s voice dropped to a growl. “And I’ll show you how you’re mine.”

[snailsagere]

Please read my dni in my bio before interacting

I made a computer games to play when regressed so here's phone games to play when regressed!

Phone games to play when regressed!

All of these games are free unless stated otherwise and I will give content warnings if needed! If I miss anything and you think I should include it then feel free to tell me!

🌸= personal favourites

Monster girl maker 1 and 2

Description- it's a cute dress up game where you design monster girls, it's really really cute!

CW- I think it's got some medically stuff and general stuff that may be scary

My little pony pocket ponies

Description- it's a game where you get through enemies using the mlp characters it's quite tricky so I recommend this more for anyone who regresses to older ages but it's still really fun!

CW- none :3

🌸My little pony colour by magic

Description- it's a colour by number game where you colour in scenes and decorate a friendship museum!

CW- none :3

🌸My little pony magic princess

Description- you rebuild equestria and complete quests as well as little in game competitions!

CW- none :3

🌸My little pony celebration

Description- you celebrate loads of different parties hosted by the my little pony characters!

CW- none :3

Toca world

Description- pretty much like a doll house but on your phone, make characters, make them a house and explore the world etc, there are also dlc's you can pay for which add stuff like new locations etc

CW- none :3

Toca hair salon 3

Description- this is a paid game where you cut and style different people's hair!

CW- cartoon scissors, hair cutting equipment etc

🌸Hello kitty around the world

Description- you travel to different countries as hello kitty, learn facts about them and where they are in world! you also earn traditional outfits and food to dress hello kitty and feed her!

CW- none! :3

Hello kitty educational games

Description- play a variety of different games to earn outfits and furniture for hello kitty!

CW- none! :3

🌸Hello kitty fashion star

Description- dress up girls in sanrio clothes!

CW- none! :3

Hello kitty cafe

Description- own a cafe! And play as sanrio characters! This games a bit tricky so I recommend it for older kids! Aswell as that there used to be in app purchases to make it easier but they do not work anymore so keep that in mind!

CW- none! :3

Hello kitty goodnight

Description- you play little mini games to get the hello kitty family to sleep!

CW- none! :3

🌸Littlest pet shop your world

Description- play loads and loads of littlest pet shop mini games and if you have the lps with the rubbery heads you can even scan them into the game!

CW- none! (I haven't played every mini game but it seems fine)

Cats and soup

Description- this is a clicky game where you unlock cats for them to make soup

CW- drawings of cartoony knives (to cut veggies)

Bunnybuns

Description- you play as a bunny making food for customers based on hints they give you

CW- none (I don't remember if they use kitchen equipment but I think they don't, not certain though!)

My talking Angela 2

Description- look after a cat called angela, play mini games etc

CW- none! :3

🌸Virtual families 3

Description- I grew up play virtual families 2!this is the same premise we're you look after a family on your phone!

CW- none! :3

Tsuki odyssey

Description- similar to tsuki adventure but now you're in a new location, you can fish, buy things, decorate your house and see what tsuki gets up to

CW- I think burglary is mentioned at the start

Cats are cute

Description- expand a town of cats, pet them, feed them and play with them!

CW- none! :3

Adorable home

Description- play as a couple and adopt loads and loads of cats, look after them and decorate and expand your house!

CW- none! :3

Any papa's game

Description- cook food for customers! All the papa's games are paid for but they're only £1-£3! My personal recommendation is papa's pancakeria!

CW- some of the games have knives in them

🌸Pokemon playhouse

Description- you collect pokemon and play cute mini games with them! This is a good game for little kids who like pokemon!

CW- none! :3

Pokemon smile

Description- brush your teeth to catch pokemon!

CW- none! :3

Pokemon go

Description- walk around outside and catch pokemon! Definitely recommend doing this when it's less cold hehe

CW- none! :3

Pokemon cafe

Description- a match three gand where you make food and drinks fir pokemon customers!

CW- cartoony knife+kitchen equipment maybe

🌸Egg!

Description- raise eggs until they hatch into cute creatures! I loved this game when I was little

CW- none! :3

🌸My school-learning game

Description- be a teacher in a school and teach characters basic maths and English (it has a few different language options depending on where you're from) you can unlock things but you have to pay for them but what is free is fun

CW- none! :3

Colouring games

Description- colour in pictures!

CW- none! :3

🌸Jungle floof

Description- raise jungle animals and play mini games!

CW- none! :3

🌸Applaydu

Description- a kinder egg toy game! Loads of different activities to do and you can unlock characters by scanning your kinder toys!

CW- none! :3

🌸Duo abc

Description- learn the alphabet and basic words (only English), disclaimer? Maybe? not the same as duolingo, this app is made for children

CW- none! :3

Extras! (games I found while making this list)

Plants vs Zombies 1, 2 and 3

Description- fight zombies by setting up plants with different abilities! I recommend this for older kids, I had pvz 1 and 2 when I was younger and I was very bad at it haha

CW- zombies, ungorey violence (no blood etc)

Sundae picnic

Description- make ice cream for cats and dogs! (please don't actually give cats or dogs ice cream)

CW- none! :3

Pokemon sleep

Description- collect pokemon by sleeping (sometimes the app doesn't record your sleep properly but usually it's ok, still fun either way)

CW- none! :3

Khan kids

Description- I haven't played it yet but it looks like it has little mini games for younger kids on it!

CW- idk :c