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d-targaryenshoe · 8 months

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Affectionate Travels - Benedict Bridgerton

Word count: 1469

Summary: Newlyweds may find it hard to keep their hands to themselves, i'm not wrong am I not?

Warnings: S M U T

As the carriage rumbled along the muddy country road, you gazed out the window, lost in thought.

The honeymoon had been lovely, of course, a whirlwind of devotion and pleasure, as you and Benedict had explored the lush vineyards of Burgundy and the cobblestone streets of Paris.

But now that you were on your way back home to England, you couldn't help but feel a strange mix of anticipation and apprehension.

You wondered what life would be like now that you were truly married, and if your love would be able to withstand the trials and tribulations that were sure to come your way.

A gust of wind swept through the open window, carrying with it the scent of damp soil and the distant sound of laughter.

You turned your head to glance at your husband, who was buried deep in conversation with your coachman.

He looked handsome, even with his hair disheveled and his jacket unbuttoned.

A small smile played at the corners of your lips as you remembered your wedding day, when he'd first seen you in your wedding dress, his eyes widening with surprise and admiration.

You shifted uncomfortably in your seat, the leather upholstery creaking beneath you.

The ride back home was going to be long and arduous, but you were determined to make the best of it.

Maybe you could simply lean back against the squabs and close your eyes, relishing the gentle sway of the carriage and the feeling of being wrapped up in his arms.

You let out a contented sigh as you snuggled closer to your husband, your cheek resting against his broad shoulder.

You could feel the warmth of his skin through the fabric of his shirt, and his muscles tensed as you ran your fingers through his hair.

The rhythmic clickety-clack of the horse's hooves on the road soon lulled you into a peaceful sleep, and you didn't stir even when the carriage came to a stop.

It wasn't until you felt Benedict's lips pressed against your neck that you awoke with a start.

"What are you doing?" you murmured, your voice hoarse from sleep.

"Just making sure you're pleased," he replied with a chuckle, his breath warm against your skin.

You let out a small laugh, feeling a blush creep up your neck. "I am now."

He leaned in closer, his lips brushing against your ear. "Good. Because I was thinking we could pass the time more...entertainingly."

You felt a shiver of anticipation run down your spine.

"Oh?" you breathed, your heart racing.

Benedict slipped his hand beneath your dress, his fingers tracing a path up your thigh. "Yes. Why don't we relish our last few moments to ourselves, in this carriage?"

You gasped, your body responding instinctively to his touch.

You arched your back, pressing yourself against his hand.

"Here?" you whispered, your voice trembling with desire. "Now?"

Benedict smiled, his eyes darkening as he gazed down at you. "Yes, my love. Right here."

With practiced ease, he shifted your positions, maneuvering you so that you were straddling his lap.

His other hand found its way to your breast, cupping it through your chemise.

You moaned, your hips moving in time with his thrusts as he guided his erection to your entrance.

The carriage rocked and swayed with the movement, but neither of you cared.

You were lost in the heat of the moment, the thrill of being caught in the act.

Your nails dug into his shoulders, your back arching as you felt the familiar pressure building within you.

As your lovemaking intensified, the sounds of the horses and the creaking of the carriage seemed to fade away, leaving you in a world of your own.

The leather upholstery beneath you groaned in protest, the carriage rocking wildly with each thrust.

Benedict buried his face in your neck, his breath coming in ragged gasps as he fought to control his desire.

Your body trembled with each thrust, your muscles tensing as you neared the point.

The carriage rocked wildly, the horses whinnied in protest, but you were oblivious to anything but your own need.

Your movements became more frantic, more urgent, as the pleasure built within you.

You threw your head back, letting out a shuddering cry of release, your body arching tight against your husband's.

He followed soon after, his breath hot on your ear as he groaned out his release.

Your hearts pounded wildly, your skin flushed as you clung to each other, trying to catch your breath.

The carriage finally came to a halt, the horses' harnesses creaking and groaning from their exertion.

The air inside was thick with the scent of your sweat and the tang of your lovemaking.

You leaned back against the squabs, your chest heaving as you tried to catch your breath.

You looked up at your husband, your eyes locked, and felt a rush of affection and contentment wash over you.

"I think," you whispered, "we should do that more often."

Benedict smiled, wiping the sweat from his brow.

"Yes," he agreed, "I think you're correct."

He reached up to straighten your hair, his fingers brushing against your cheek.

"Perhaps," he continued, his voice low and husky, "when we get home, we could find a more comfortable spot to continue our celebration."

You felt a shiver of anticipation run down your spine.

"I think that's a wonderful idea." you glanced out the window, taking in the familiar scenery as you pulled into the driveway.

"It's good to be married to you, Benedict."

He smiled, leaning in to kiss you. "Likewise, my love."

As the carriage came to a halt, the driver opened the door and stepped down, coming around to help you descend.

You took Benedict's hand, allowing him to help you down from the carriage.

The air was cool and crisp, carrying with it the scent of autumn leaves and wood smoke.

You made your way up the steps to the front door, your hands still clasped together.

The butler, Mr. Jenkins, opened the door at your approach, bowing slightly. "Welcome home, my lord, my lady."

Benedict nodded in reply, his eyes never leaving your face.

"Thank you, Jenkins." He glanced around, taking in the grand entrance hall with its marble floors and ornate ceiling. "I trust all is in order?"

"Yes, my lord. Everything is just as you left it."

You continued through the hall, the servants falling into step behind you.

You felt a sense of contentment wash over you as you walked hand-in-hand with your husband, the warmth from your lovemaking still lingering between them.

You couldn't help but wonder what other adventures you would share, what other memories you would create together.

As you entered the grand sitting room, you were struck by its cozy atmosphere.

A fire crackled in the hearth, casting flickering shadows across the rich wood paneling and softly lit sconces.

A plush rug covered the floor, the furniture arranged invitingly around it.

You could almost imagine curling up on the sofa with a book and a cup of tea, spending the afternoon lost in the pages.

"Would you like something to drink, my lady?" Mr. Jenkins asked, interrupting your thoughts.

"Perhaps some tea or a glass of wine?"

"Wine sounds lovely, thank you, Jenkins," you replied.

You glanced at Benedict, who nodded in agreement.

You exchanged a smile before the servants withdrew, giving you a moment of privacy.

You moved closer to the fireplace, warming your hands by the dancing flames.

The room was beautiful, but it was the feeling of being with Benedict that truly made it special.

You looked up at him as he stood at the window, gazing out at the garden beyond.

There was a distant look in his eyes as if he were lost in thought.

"Are you alright, dearest?" you asked softly.

He turned to you, a small smile on his lips.

"I was just thinking about the future, my dear. All the possibilities that lie before us." He walked over to you, taking your hands in his.

"I can't wait to see what we'll accomplish together."

You felt a surge of affection for your husband. Despite your differences, you complemented each other perfectly.

You knew that your partnership would only continue to grow stronger with time.

"I'm looking forward to finding out, Mr. Bridgerton," you said, leaning into him.

"And I think we should start by finding that comfortable spot we were talking about earlier." you winked, your lips curving into a mischievous grin.

Benedict chuckled, his eyes sparkling with amusement.

"I believe I remember what you had in mind. Very well, my lady. Lead the way." He took your hand, entwining your fingers as you began to wander through the sitting room, searching for the perfect spot to continue your celebration.

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indierpgnewsletter · 2 months

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Two Theories About Vibes

When I hear people talk about vibes, I’m like a sardine out of a can – completely out of my natural habitat. But I overcame my bafflement. I persevered. And so here are two theories about vibes:

Vibes make you want to play the game in the first place: In a recent interview, Cole Wehrle, the designer of boardgames like Root, talks about a joke that he has with artist Kyle McFerrin. Wehrle says it’s Kyle’s job to make people play the game once and Wehrle’s job to make them place twice. It’s a joke but it points at something central, right? The design might be good but no one will find out if they don’t play it. So there’s a whole bunch of a stuff that goes into solving that problem: illustrations, sure, but premise, titles, taglines, graphic design, form factor, etc. To give a non-illustration example, Brindlewood Bay‘s premise of “grandmothers solve lovecraftian mysteries” is a vibe, right? For some people, it’s enough to get them to play it once. If they like the game design, they’ll come back and play it again. When a game is “just vibes”, there’s no design backing up the promise and often, your first time is the last time.

Vibes get you in the right headspace for the game to work: Sometimes, to play a game, you need to approach it the right way. Whether that’s knowledge of genre or a broader mindset shift, sometimes the game doesn’t work without it. The first thing that comes to mind is games where you “play to lose” and specifically, the joy of characters dying in horror games. But beyond that, there’s loads of other subtleties: should we be playing fast or slow, should we be taking this more seriously or less, should we be ready to cry at some point or maybe flirt, or maybe flirt and then cry? Now, again, this emerges from all the same constituent elements of vibes. You can definitely do it through text and sometimes, purely through the design. When a game is praised for having great vibes in this sense, its probably communicated the ideal headspace quickly, effectively and entertainingly. For a non-pictorial example, I think the title Monster of the Week does a great job of explaining exactly how you should think about the game as a potential player.

(This was first posted on the Indie RPG Newsletter.)

#indie rpg #ttrpg #ttrpg community #ttrpg design

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passionpeachy · 2 months

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Ngl there's a bitter side of me that wishes I could see what artists are nepo babies with money. mostly so I know to not to compare myself to people who have privileges I never had, but also a little because it'd be entertainingly messy on art twitter. have their parents’ salaries float over their head like the death dates on death note

#text

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oreo-creampie · 5 months

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Want Sukuna to rub my face on his clothed bulge while he’s saying “And this is all you gonna get, slut”, “You don’t deserve my cocks, beg for it”. And when he is finally let me do my thing, want him to facefuck me with two cocks one by one and spit on my face 💔

His hand would be so big in his true form that it would cover most of his head while he is pushing your face into his clothes cocks. You’re kissing and sucking him through his clothes.

He yanks you up by your hair, spits in your face before shoving you back into his bulge. Fuck you served with “you don’t deserve my cock” he would definitely call you a pathetic dumb lil’ whore for wanting him

“I could break you, crush your head and all you’re thinking about his choking on my cock. You’re so entertainingly stupid.” If you hit him with that “you can break this pussy” that does it for him

He will fuck you till you’re about to pass out, “I just started having fun, you can be tired already, after how much you were begging for me to wreck your sloppy cunt you’re crying it’s too much n’ running away? Pathetic, fuck you messy lil’ cunt on my cock if you want to cum again.”

The safe would be needed along with the color system with him. Along with water that he might spit into your mouth cause if you let him he might get fixated on fucking up your pussy for hours. He likes knowing that you can’t walk afterward

#fey’s rambles #dirty confessions

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vidavalor · 3 months

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Thank you so much for all your wonderful metas - I enjoy them a great deal. I hope I am not going over old ground here, but I have just finished your defence of Aziraphale's choice (which I agree with 100%) and it has prompted me to ask your opinion of the following:

Having witnessed the Metatron impose upon Aziraphale's good will and impeccable manners and endless sense of obligation with a sodding coffee, WHY did Crowley allow the angel to leave with this wily, manipulative being?

Now, admittedly, Crowley did get to his feet and follow them briefly (after being on the receiving end of that terrifyingly pointed glare from the Metatron) but is immediately distracted by Muriel and thoughts of breakfast with Aziraphale.

This is the same demon who is never still. Always wary, always on guard, always patrolling. Yet, after that ridiculous coffee conversation, after Aziraphale looks to him for direction ("Ummm.."), after that glare, he just waves the angel off on his way for a chinwag.

I actually wrote the scene out so that I could "see" it differently, but it did not help me come to any conclusions.

I would LOVE to know what you think.

Sorry. I wittered on a bit there. 😊

Hi @vernajarrett 💕 Thanks for reading & asking! I'm happy to chat about what I think is going on in the moment Crowley acts like a pod person and Derek Jacobi's character gets all that Big Damn Villain Music in the score. I've got the coffee brewing. Oat milk and a dash hefty jigger of almond syrup? 😜

To answer why Crowley is acting so massively weird during the part of 2.06 that you mentioned, we have to start a little before it with the arrival of the last visitor to the bookshop in S2:

a character played by Derek Jacobi:

When the last new character to arrive at the bookshop door in S2 first arrives, we are down to six other characters in the shop. Five of them-- Aziraphale, Muriel, Michael, Uriel and Saraqael-- are angels and the sixth character-- Crowley-- is a demon. Upon the arrival of Derek Jacobi's character, all five of the angels fail to recognize this person. This is a true shock to us because we think we know who this is, right? That's The Metatron.

We know what The Metatron looks like; we've seen his head quite dramatically huge and in our face on several occasions. We feel qualified to say that if Sir Derek Jacobi shows up it must mean that we're looking at The Metatron. What we tend to ignore is... well, everything else that happens here lol... all of which says we are incorrect about this.

First off? All of this is just (entertainingly) weird: The Metatron is a floating head who thinks himself above humanity but he's here now in a body on Whickber Street. He abhors food but he's stopped to get a coffee at the shop and have a chat with Nina. We first spotted him outside by Mrs. Sandwich in line-- is there a more incongruous place you would expect to see The Metatron than that? lol. It makes it very engaging to watch but these are also the first clues to suggest that something really odd is afoot here and when this character goes inside the bookshop, we really get that sense hammered home by the fact that this being we thought we had correctly identified really easily is unrecognizable-- to not one, not two, but five characters on our show, all of whom should instantly know exactly who this person is.

It's at this point that I'll mention that we technically still do not know who plays Satan on Good Omens. The first time he appears, he possesses Crowley by speaking to him using the voice of Freddie Mercury-- so, Satan is being played by a voice actor doing Satan-as-Freddie-Mercury. The second time he appears-- in 1.06-- he there for Adam, who is eleven years old at the time. Satan appears as a gigantic, cartoonish, cliched-red-with-horns-and-hoofs monster, voiced by Benedict Cumberbatch. It is completely at odds with how GO usually does its more horrific and frightening elements. You could argue that Satan appears this way in 1.06 because it's how he would appear to Adam-- to an eleven year old boy. Everyone sees Satan as Adam sees Satan when Satan comes for Adam. A parallel to that would then be the arrival of the character played by Derek Jacobi in 2.06.

Why can't these five angels identify the person who just arrived?

It has to be because they're angels. It's the only thing Aziraphale, Michael, Uriel, Muriel and Saraqael all have in common.

They can't recognize the being at the door because they're angels; meaning: they're not familiars of The Devil.

This is not The Metatron. This is Satan:

You might notice that one of the angels-- Saraqael-- eventually catches on. What they do is another huge clue to who this is. If Saraqael's realization was that this must be The Metatron, they would have spoken up and said that they recognized him, if only to suck up to the boss. But they do not so that is not their realization...

Instead, they don't say a word. They look afraid, look Up, fold their hands together and start to pray. Since this being is obviously one of them and not human-- based on what he said to Michael upon his arrival-- Saraqael has figured out that if they, Michael, Uriel, Muriel and Aziraphale all cannot recognize him, it has to be because this is Satan.

Saraqael doesn't tell anyone else what they've figured out. They just start praying in case it's their number that's up today. The irony of all of this, of course, is that three of these angels who can't recognize the face of evil-- Michael, Uriel and Saraqael-- are honestly pretty garbage people themselves and also that there's not much of a difference in level of evil between The Metatron and Satan. But, technically, Michael, Uriel and Saraqael are angels, just as Muriel and Aziraphale are angels. All it really means in this case, though, is that they've never been thrown to Hell and, because of that fact, they cannot recognize Satan. (It also helps to illustrate how being cast to Hell is political and doesn't really have much to do with whether or not you're a terrible person. It's just who has gotten caught while getting in The Metatron's way.)

Demons can recognize Satan, though. The problem is that they also can be possessed by Satan and influenced into not even knowing he's there... which is what starts happening to Crowley upon the arrival of Satan in the bookshop.

Satan can make Crowley's words sound natural and of Crowley's own volition-- and then make it so that Crowley doesn't even remember saying them. This is why Crowley is acting weird when "The Metatron" is in the same room with him in 2.06.

We've seen something like this a bit when Crowley put Sister Mary in a trance so he and Aziraphale could ask her questions back in S1. Sister Mary really looked like she was in a trance and that's because it wasn't really necessary for either Aziraphale or Crowley to instruct her to act any differently. They were the only other ones around and they weren't manipulating Sister Mary's behavior in an attempt to use her to influence other people-- they were only seeking information from her. How she acted when giving them that information wasn't something they were terribly concerned with because it didn't really matter.

When they had all the information they thought she possessed, Aziraphale brought her out of the trance by telling her that she was now awake and had just had a dream of whatever she liked best. As he and Crowley are walking away, we see Sister Mary seem like she just woke up a bit from actual sleep and she looks calm and refreshed-- like she really did just have a dream of whatever she likes best.

In that moment, Sister Mary is unconcerned with the fact that such a thought is completely incongruous with the fact that she is standing, dressed in work clothes, in the hallway of her workplace. She does not remember the two people who were just there asking her questions or what they asked her. She believes she was dreaming because that is what Aziraphale told her to believe had happened.

The point is that while Sister Mary didn't know she had been influenced like this and could not remember what had happened while she was being influenced, the effects of it remained a little afterwards, as she continued to believe what it was she was told while under the influence. Aziraphale's instructions to her were comparatively pretty innocent-- he told her she had a great dream so she continued to believe that to be true. Satan in 2.06, on the other hand, is not telling Crowley that he just had a dream of whatever he likes best.

Satan possesses Crowley from the start of the scene, accounting for Crowley's quiet and stillness in the early moments of it. He not only tells Crowley to identify him as The Metatron to Aziraphale and the other angels but he makes Crowley believe that he is The Metatron for real. He tells him to make it sound natural when he tells the angels who he is so that they will believe it. That's why Crowley doesn't sound like he's in a trance, the way that Sister Mary did in S1.

I want to throw in here something else, too, that's kind of a foreshadowing/paralleling scene to this as well that comes a couple of episodes prior to this one we're talking about and that is... whatever the fuck exactly was happening to Gabriel in the "tempest" scene.

For the record, I do not believe that it was Satan possessing Gabriel in that scene. I actually think it's some witch-related stuff--I swear the voice speaking with him is Anathema-- but I bring it up even though we don't know what this is totally all about yet because it has some paralleling things that we can already see are relevant.

First off? Where Gabriel is when this happens:

He's sitting in Aziraphale's desk chair. I'm not trying to say the chair itself is spooky (though it is as a result of all of this? lol) so much as I'm saying that both Gabriel and Crowley acting weird and taken over while sitting in Aziraphale's desk chair (which is very much symbolizing Aziraphale) is one of the many things reinforcing that Aziraphale is falling because here are these two characters who parallel him the most-- the two, other most important characters in the show, arguably, and the two also living in the bookshop in S2-- and they're both falling victim to darkness while sitting in his chair.

But what I really want to point out here is what happens to Jim after his possession. Watch Gabriel's eyes at the end here:

There are a few seconds more as well in the show when his eyes resettle on Crowley. Gabriel disappears entirely while he's being possessed. He is speaking words that Crowley can hear and that Crowley recognizes as coming from Gabriel's voice... but when Gabriel blinks back into the room and looks at Crowley, he has no idea what just happened.

He doesn't remember what he just said. He isn't aware of the fact that someone was just possessing him. He feels a little disoriented and anxious-- which is also sort of Jim's default state in S2-- but what we and Crowley witnessed him saying? He has no idea about that. Shax shows up outside the bookshop and causes a distraction that keeps us and Crowley and Gabriel from sorting all of this out until S3 but Gabriel's expressions on the other side of his possession indicate that he has no idea where he just was mentally, what he just said or did, or that someone was in his mind. This is another scene emphasizing this aspect of possession on Good Omens-- no matter who is doing the possessing. The exact same effects of possession is what is happening to Crowley in 2.06.

So, Satan uses Crowley to identify him to the others as The Metatron and makes him believe that he is The Metatron to cover up the fact that he's been in his mind. Crowley has no idea that Satan has been in the bookshop. The moment this becomes clear, though, is the first one you mentioned in your ask, which is when Crowley really confirms for us exactly who Derek Jacobi is playing by doing something so wildly out of character that it's almost impossible to justify without considering the idea that he's being possessed:

encouraging Aziraphale to go somewhere alone with who he believes to be The Metatron.

Next time you're watching this scene-- and GO, in general-- look for where the music stops altogether. There are moments in GO when the score just ceases to exist entirely for a period of time so that we can hear the words that are being said without any distractions. I've found that scenes where this is happening are usually pretty pivotal, either from a wordplay perspective or a plot perspective or, often, both. There is basically no music in the whole scene in which "The Metatron" appears to have arrived at the bookshop.

The score disappears upon "The Metatron's" arrival and it only returns with that big bit of organ-y "DUN DUN DUNNN" villain music right at a pivotal point in the scene you're talking about:

The music comes back at exactly the moment that the camera holds on "The Metatron" as he is staring at Crowley. Why here?

They really, really want you to notice this glare that this person played by Derek Jacobi is leveling at Crowley. We already don't trust this character if he is The Metatron and he's been nothing but a dick since he arrived, really-- he used "demon" to refer to Crowley, he called Muriel "dim" (he can rot for that alone), and he was a total prick to Michael and Uriel. As awful as they are, no one should be spoken to like that. No one-- including most of the audience-- sees this as being extra-villain-y because this is just how The Metatron is so it's expected behavior from who we might think this character is.

So, to show us who this really is, they can't just rely on us noticing that he's in a dark coat and tie (why is he in Hell colors?!) or that he brought along a temptation coffee or that he uses language from Mary Poppins ("spit spot") when speaking to the angels. All those are clues, for sure, but the moment the music comes back is when the show is trying to give us the biggest of the clues to who this really is-- when the scene is structured to show us that he is attacking Crowley.

Because this isn't actually The Metatron glaring at Crowley; it is Satan giving Crowley instructions to stay put.

It's why Crowley doesn't follow them afterwards and continues to believe that The Metatron was who was in the bookshop-- even as Aziraphale has figured out who it really is. Look at Aziraphale's response here and you'll see that this is one of the scenes that suggests he is pretty damn sure this is not The Metatron:

Aziraphale's head whips over to "The Metatron" in response to what Crowley said because he knows what the only explanation for that response out of Crowley is. If you are looking at "The Metatron" while Aziraphale is still turning his head, you can see that he's still staring at Crowley because he was instructing him to tell Aziraphale to go and to not come with them. Satan pastes on a fake as fuck smile when Aziraphale looks at him but it's actually too late-- Aziraphale already knows what's going on. He just doesn't want Satan to know he knows.

Aziraphale knows that there's no way in the universe that Crowley-- who was so worried about danger yesterday that he escorted him to, like, Arnold's Music Shop and Mrs. Cheng's restaurant lol-- would ever just chill in the desk chair while Aziraphale went somewhere alone with The Metatron.

Ever.

The Big Damn Villain Music shows up after "The Metatron"'s fake smile to Aziraphale. It is in the exact moment that he looks at Crowley again and finishes the instructions he was giving before Aziraphale turned his head. It's because this is one of the biggest clues to this character's identity-- who can do this to Crowley? Satan.

Based on the scenes that follow, Satan here is telling Crowley something like:

You will not follow us. He will be back soon. Everything is fine. I was never here; I am The Metatron. Aziraphale is not in any danger. Stay where you are.

This scene-- the one highlighted by the music-- where Satan is silently giving Crowley directions is the one most like the time we see Satan possess Crowley in 1.01. It has a similar effect for a moment, which is probably why the music kicks in here as it's the best way to remind the audience of who can do this to Crowley and how.

In that 1.01 moment, there was no one else around and Satan was not possessing Crowley for the purposes of having him speak to influence someone else's behavior. Since he did not need Crowley to speak in the scene, Crowley does not. He is silent and still while Satan speaks in his mind and gives him instructions. We see that Satan can take such full control over Crowley that Crowley is trapped within himself. He can't speak, he can't scream, he can't move-- so, he can't drive the car and his connection to the car is shattered to a point that The Bentley is almost in a head-on collision with a truck. This is our introduction to the level of possession that Satan has over him-- all contrasted with the fact that Crowley is supposed to be on a date with Aziraphale in the sushi restaurant. This is all coming back around in 2.06.

Its return is also foreshadowed by this Shax bit during the bookshop attack... Crowley missing when he's supposed to be safe with Aziraphale and Aziraphale worried that Satan has Crowley because the demons are circling and Shax... who exists to get inside people's heads a bit... as if echoing Aziraphale's thoughts, says:

Shall we send up the sushi?

After all... do we really think that a season that spent all that time on whether or not actual demons (representing a person's inner demons) were going to be able to get into the bookshop (symbolically, Aziraphale, and Crowley & Aziraphale) is going to let those demons into the bookshop and then just... decide Satan is on vacation for the week? Or do we think that it's not coincidental that the offer Aziraphale is presented with also happens to be the one thing in the entire Universe that could ever tempt him to Hell?

Hmm... 😉

Anyway, back for a moment to the scene in 2.06 when Satan influences Crowley into staying behind and telling Aziraphale to go with "The Metatron"... The undersung thing in this scene, imho, is Aziraphale's reaction.

If Aziraphale really believed this to be The Metatron with 100% certainty, he could have responded to what Satan just made Crowley say by pressing this idea of them going for "The Metatron's" proposed stroll. He could have said aloud to Crowley: "why don't you come with us?" or he could have told The Metatron that he didn't want to go for a walk and why didn't they just sit here in the bookshop instead and anything The Metatron wanted to say to him, he could say to him and Crowley together? If Aziraphale really completely believed that this was The Metatron, he could have-- and would have-- tried either of those things or something like them in response to what Satan made Crowley say.

Instead, what does Aziraphale do?

He *immediately* starts for the bookshop door. Why?

Because he knows that Crowley is not speaking of his own free will and that the person he identified as The Metatron is, in all likelihood, actually Satan. Aziraphale immediately starts for the door because Satan will have to follow him out, since he was the one who proposed this stroll. Aziraphale abandons the idea of Crowley coming with them when he sees that Crowley is being harmed. Instead, he goes alone with Satan, immediately luring him out of the shop so as to get him away from Crowley.

He leaves the bookshop with Satan to protect Crowley. It also foreshadows the fact that he's going to fall over a temptation that is related to Crowley's safety.

Look at how Aziraphale looks back to make sure that Satan is following him and quickly... how nervous and shaky he looks. He would be nervous if this were The Metatron, sure, yes, absolutely. In this moment, though, he's just living one of his worst nightmares-- the bookshop that he built that protects Crowley has been overrun and Crowley has been harmed right there in front of him.

This is their house. It's their living room, where Crowley's lounged for thousands of nights. Crowley is in Aziraphale's own desk chair. This is supposed to be the place where they both feel safe but now there is no safe space so Aziraphale is doing the best he can in the moment by just responding intuitively and protectively by saying with his actions: Get away from him. Follow me. You can have me. Leave him alone.

So, they go out, right? What happens next but the other scene you mentioned in your ask: Crowley and Muriel.

Crowley gets up out of the chair basically the second Satan and Aziraphale are no longer in the shop because Satan's hold on him in that moment is gone and he probably unconsciously needs to move, since Satan was literally not letting him get out of the chair. This is where the weird behavior gets even more weird-- Crowley doesn't follow them. He literally watches from within the shop through the window for a second as Aziraphale leads "The Metatron" over to Marguerite's. Why doesn't he go after them? Because Satan told him to stay in the shop. Just like with Sister Mary believing she had been dreaming, what Crowley has been influenced by Satan into doing lingers with him gone, since he was instructed by Satan to stay in the shop until Aziraphale gets back.

Crowley paces a little circle like a caged tiger, going back further *into* the bookshop-- a totally normal response to his partner going for coffee alone with a murderous psychopath. He mutters to himself:

"They'll be back soon."

WHAT. THE...? How is there anybody who thinks this behavior is normal at this point?

Crowley turns around and Muriel is there. He jumps a bit, having forgotten they were still in the shop. So did the audience, honestly. This may or may not be significant in S3. Muriel being there in the background, blending into the walls during this scene also means that Muriel is now maybe the only character who could actually tell Crowley what happened during the scenes we have been talking about here because he doesn't remember anything involving what he said.

If you were to ask Crowley at any point from the time "The Metatron" and Aziraphale leave the shop on in S2 who identified "The Metatron", he couldn't tell you. If you were to tell him he told Aziraphale to go with "The Metatron", he would not remember doing that. He has as much memory of the words he spoke in the scene with "The Metatron" as Gabriel does of his "there will come a tempest" moment-- which is to say, none.

Crowley knows that Aziraphale has gone with The Metatron and that they will be back soon. He doesn't know how that came to pass and he has been rendered by Satan incapable of leaving the shop or considering the idea that he should follow them.

If the being at the door is Satan and if Aziraphale's fall is where we left the end of 2.06, Aziraphale could lose his memory, at least for a time, which means that the only character who was a reliable witness to Satan influencing Crowley in this scene is Muriel. One purpose of having them in the shop during these moments from a writing standpoint-- as opposed to sending them over to Nina's coffee shop earlier-- might be to set up a character in S3 who can tell Crowley what it was that actually happened here. (Lucky Muriel lol.)

As you pointed out, Crowley starts speaking to Muriel casually, as if nothing is going wrong. He tells Muriel that they should leave the shop, too, and Muriel says:

The Metatron-- really: Satan-- did tell Muriel to wait in the shop but he did so just by pretending to be The Metatron. While there's no possession there with Muriel, Muriel's line to Crowley is also emphasizing what actually just happened to Crowley himself to the audience. "The Metatron" has told them both to wait in the shop-- so, they are waiting in the shop. They're both following directions they've been influenced in different ways to follow. By Muriel saying that they've been told to wait-- even if they were told in a different way than Crowley was-- it suggests that following a directive is also the reason why Crowley himself is still in the shop.

Crowley's response to Muriel, though, makes him sound like he's back to himself-- and, in several ways, he is. He is remaining in the shop because of the influence but he is not currently under an active influence so he can say what it is that he chooses to say. When he's a little sarcastic with Muriel, it sounds like his normal speech because it is. What he doesn't understand is that he's been influenced to do the same thing Muriel has been-- to wait there in the shop-- just against his will, as opposed to Muriel's conscious decision to follow the directive.

Here's where we have to consider Crowley's audience when we talk about what he says next. Crowley likes Muriel; of all the angels not named Aziraphale that he's met, Muriel's definitely top of the list. That said... Muriel is still an angel who is desperate to please The Metatron, as they just proved to him again in this scene by being excited to have been singled out to assist who they believe to be The Metatron. Muriel whole thing is that they're an Inspector Constable; they are literally the (supernatural) police and Crowley wisely doesn't trust the police.

Crowley has no doubt that, after Muriel does leave the shop, that they'd tell The Metatron anything he said. Crowley actually does believe that Aziraphale is in big trouble because he doesn't trust The Metatron-- he's just been rendered incapable of realizing that he's staying in the bookshop because he's been instructed to do so by Satan, who is really the person with Aziraphale in that moment. As a result, Crowley's mind has jumped to a plan for when Aziraphale comes back from coffee with whom Crowley believes is The Metatron.

Crowley has no doubt that Aziraphale will come back because he's been influenced to believe this to be true, which is why he keeps saying "they will be back soon" and "when Aziraphale does come back", instead of being terrified that Aziraphale will not come back at all, which is what he normally would have been if Aziraphale were alone with The Metatron. It is, in this case, going to be true that Aziraphale returns because that is part of Satan's plan and one of the reasons why he influenced Crowley into believing so.

So, anyway, Crowley thinks the big threat is The Metatron potentially erasing Aziraphale into non-existence by deleting him from The Book of Life. This isn't actually a thing, as Crowley told Beez back early on in the season, but Beez, being horrified to realize that they might have been manipulated by something they themselves and Crowley made up ages ago, doubled down out of embarrassment on it being real and led Crowley to believe in its existence as a result. Crowley has spent the season terrified that Aziraphale is going to be made to have never existed. The plan he's cooking up to save Aziraphale from that fate-- which is what he thinks is going on-- is not one he wants to share with the police. It's not one he's going to say aloud in front of Muriel because that might as well be saying it to The Metatron, as far as Crowley is concerned. We won't actually hear Crowley's plan until he delivers it to Aziraphale in coded speech in The Disaster Kiss Scene and by that point, everything is going, um, really, really badly.

(It's the reason why there's no music in that moment so you can literally hear the words echo around the room when Crowley starts in on it and basically shouts the "THIS PLANET" part at Aziraphale but that's straying from the scenes you asked about so *focuses* 😊)

So, Crowley instead says what he'd really, truly, honestly love to be doing for the rest of the morning and he does so in the way that he and Aziraphale do when someone who doesn't speak their language is around and annoying them-- he says it in Ineffable Husbands Speak to amuse himself and, probably, to amuse Aziraphale, whom he plans on telling later. (He'll do this again a few minutes later, when Maggie is ticking him off by saying he and Aziraphale don't talk.)

Crowley says:

Does Crowley want a little Us Time with Aziraphale when he comes back? Does he want to go with him to have an extremely alcoholic breakfast at The Ritz? (Ineffable Husbands Speak for boozy brunch and sex after too long without it?) Yes. Eventually. But he knows there's very dangerous trouble to be dealt with first.

Crowley says that because he wants Muriel to think that he is just preoccupied with thoughts of Aziraphale and breakfast-- because that's what he wants The Metatron to think and he knows Muriel will tell The Metatron what it is that he said.

Crowley wants The Metatron to think he doesn't have a plan.

But, really, when we have known Crowley to not have a plan? 😊

The problem is that it's a plan for the wrong scenario.

It's not The Book of Life that's happening; it's Aziraphale's fall.

It's not The Metatron at the door; it's Satan.

This is almost the entire communication mess of That Disaster Kiss Scene. They're being watched and whatever the fuck happened to Crowley, he can't see that freezing time to speak openly is an option so he and Aziraphale are boxed into trying to each convey what they think is happening and their plans to stop it using their cant vocabulary.

The ironic thing is that while they-- like the audience lol-- have two different ideas of who the being watching them is and what the threat is as a result, they actually both have almost exactly the same plan... with one, key, very romantic difference.

But that's another meta. 😜

In the meantime, I'll just leave you with a reminder of what "The Metatron" said in a moment when Crowley was still in the room:

#ineffable husbands #good omens #good omens meta #crowley #aziraphale #aziracrow #good omens 2 #good omens theory #crowley x aziraphale #the metatron #the final fifteen

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am-i-the-asshole-official · 1 year

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[not a submission] im loving the blog, thank you so much for doing this, i know it's a lot of work. i hate to add to that work, but i was wondering if you might start using your best judgement to decide if a submission is fake or not before posting it? i understand if you just skim to see if it follows the FAQ bc you receive so many submissions already, but it seems like there's been several absolutely outrageous ones that are clearly just trolling.

Thank you for your kind words! ♥ I've made the decision not to screen for fake stories for a few reasons, though:

1.) I would feel SO bad if I made a wrong call and mistakenly assumed someone's very real situation was fake! I do not presume to know the breadth of human experience, and so I've decided not to put that weight on my shoulders

2.) It would add a fair bit of extra mental load to the queuing process as I have to ponder whether each submission passes the sniff test

3.) We're on the fake stories web site, and sometimes fake stories, told entertainingly, are fun

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threebooksoneplot · 3 months

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what draws you both to jalice/makes you so feral about them as a ship?

you should know we had an entire meeting in order to answer this ask. no this could NOT have been an email (unlike new moon) 🤭

Secretary G took notes. they are as follows (read the bolded parts for a tl;dr)

we kind of see it as though jalice got the traits that edbella weren’t allowed to have, either due to their status as protagonists or because smeyer's mormon background causes her to view these qualities as too sinful/negative for her wholesome Waiting Until Marriage main couple. (examples: alice's materialistic, "shallow," hyperfeminine qualities, her character flaws (especially her manipulativeness), and jasper's aura and history of fucked up violence closer to what you'd find in traditional vampire stories/horror/adult gothics/books not written by a mormon author)

in terms of how much screentime the non-main-love-triangle canon couples get, their relationship is kiiiinda given the next-most weight to edbella’s (examples: jasper's extreme overprotectiveness, the New Moon chapter 19 moment where alice prioritizes jasper and bella is like “yeah I get it, I would do the same.”) basically smeyer gives jalice's relationship a lot of the qualities she finds romantic/ideal, (and which are either similarly romantic to us or entertainingly toxic/a good source of drama), presumably because alice is like her 4th-favorite character after the main love triangle and she wants nice things for her

we both really love how, superficially, as presented in the books, jasper and alice seem to have this almost “courtly love” that smeyer has described as "spiritual." yet when you look closer, their relationship has so many darker undertones—the deep codependency bordering on obsessiveness (mutual, but especially the way it manifests on jasper's end—"I will kill this random teen girl who witnessed edward's jean valjean moment™ because any means are justifiable when the ends are Protecting Alice"), the dark sides of both of their powers, the idea that jasper is only a cullen and/or only a vegetarian for alice's sake, etc. hell, even the fact that they're the only Cullen couple who we know had (gasp) premarital sex 😏 (I mean we assume rosemmett did too, but alas, they don't have that hilarious "carlisle convinced jasper and alice to get married" quote from smeyer)

partially summarized: "jasper’s general desperate willingness to sell everyone to satan for one corn chip if it keeps alice safe (carlisle: I know this and I love you)"

we're forever smug that the movies gave us even more jalice screentime (especially remarkable in such a protagonist-centric universe), including jasper being in the same grade as alice/bella/edward, and the extra jalice kisses in Eclipse and BD 🥺

what we wrote down as the “who’s protecting whom" phenomenon, as coined by G in this old ask. (shannon: "jasper is the toddler you've given the PS2 controller that's not plugged in")

we also like the characters individually. jasper is for the girlies with competency kinks—a stoic caretaker who speaks little and mostly expresses himself via acts of service. we also both love the way in which he needs protection from his own uncontrolled violence (slipping up and killing humans, suffering the pain and fear he inflicts, etc.) he is, in the words of our beloved @liceparade, the "line cook trauma boyfriend"

“It’s hot when there’s a fictional violent man who wet babygirl 😌” —shannon

and alice, unlike bella, genuinely loves being spoiled and bossing people around. she's brat-coded, she's confident and secure in who she is, her god complex ("I'm close enough [to omniscient]") causes fascinating conflict, bella eats drywall from sheer horniness at her merest movement, she dresses like a slut in the Mormon YA Novels and yet somehow escapes authorial condemnation, she has a sickass gothic heroine backstory, she's "annoying," aro started a whole war over her (eat shit helen of troy 🖕), she spaces out in public and has to be led around by jasper, she's one of the most powerful vampires in the world, she's in high school getting a C+ on her precalc test 💅🏻

it's appealing that smeyer frequently puts alice in the center of the series' various conflicts (james' singer and "one that got away," the accidental cause of all the drama at the end of new moon, one of aro's secret True motives for starting the conflict in BD.) this is mostly as a consequence of smeyer using alice as a plot device and/or deus ex machina, but it is in fact interesting

is alice jasper's morality chain? we love pondering this question via fic, meta, etc (especially because...alice ain't exactly a model of ethical behavior herself)

together, the two of them exhibit lots of classic tropes. they're grumpy x sunshine, chatty x silent, opposites attract, etc. to say nothing of that height difference 🥵

we love the yin/yang symbolism of a character with a horrific past paired with a character with NO memory of her past, who is focused on the future and all about potential. not to invoke an ancient phrase but POETIC CINEMA

the next note just says “POTENTIAL in general.” I assume we meant how all of the above stuff creates potential for interesting stories, conflicts, metas, art, fic, etc

G has brought this up in the past, but we love the irony of jasper, a character whose chief desire is to be left in peace, being soul-alteringly in love with the one character who will always be a giant glaring target through no fault of her own. hilarious

#asks #jalice #jasper hale #alice cullen #archie cullen #jessamine hale #long post //#monsterbookworm

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beaft · 1 month

Text

idk if i can put this into words very well, but i feel like the divide between "entertainingly weird fandom" and "rancid, off-putting fandom" has a lot to do with how well-matched the fandom energy is with the energy of its source material. homestuck is a bonkers piece of media so it makes sense that it would attract bonkers fans. it makes sense that star trek fans would invent entire new genres of pornography and locked tomb fans would be into gore and lesbian necrophilia. it makes less sense to see that same madness being channelled into sending death threats to the creator of a whimsical romcom, or arguing about whether rose quartz should be executed for violating the geneva convention

#be shh now

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secondbeatsongs · 2 years

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Hello! I'm Julie from Cariona and I just want to ask if you're interested in doing ads/promotions here on Tumblr? If yes, how much do you charge per reblog?

For proof of legitimate promotions, you can check @catchymemes, @sulfatto, @isnt, and many others.

Website for reference: http://cariona.com Over 200 five star Facebook reviews: https://www.facebook.com/carionaproducts/reviews

Please feel free to respond here or reach out to us on [email protected] for more details! Thank you once again and have a great week!

absolutely fascinating that you decided to send this as an ask, when you also DM'd me. unfortunately, you may realize that this was a mistake - you see, asks can be responded to publicly.

so, allow me to respond:

hi, Julie! I'd never heard about Cariona before, so I decided to go poking around, and I learned something!

well, I learned a few things, actually. from your site, Cariona seems to be a small business that sells reusable menstrual products. and while I will never advertise a product that I haven't used, there's nothing wrong with wanting people to promote your company.

I have, however, found a few problems.

the first thing I found was this post by @crafiet from May 12th of last year, saying that shortly after making a purchase on your website, her debit card info was leaked, and used to make facebook ad purchases.

it seems that at least back then, your payment system was insecure. I'm really hoping you've fixed that, because. yikes.

and when I messaged crafiet to ask if it was okay if I linked to her post, she also mentioned that even though your website says you ship from Georgia, her package came shipped from China, and took a long time to arrive.

that's pretty sketchy.

the next thing I found was some folks talking about receiving cards with their orders that have a QR code on them with the words "Scan For God's Message To You", and that on the other side, have this bible verse:

O God, thou art my God; early will I seek thee: my soul thirsteth for thee, my flesh longeth for thee in a dry and thirsty land, where no water is. Psalm 63:1

fun fact! that's from the King James Version (which I have a lot of thoughts about, but I'm not going to get into that right now).

additional fun fact! that particular psalm is from that time David fled to the wilderness because Jonathan's dad was trying to kill him.

and that's why I have to talk about the verses that follow it:

(ID in alt text; link to the NIV version if you want it)

so...are we like 100% sure it's god that David is thinking about here? because...I mean...that's pretty horny, right? and all of this while on the run from his boyfriend's dad?

I'm not saying anything, but like...¯\_(ツ)_/¯

it's a weird verse to choose for this, that's all.

anyway, back to you, Cariona: after seeing people talking about the bible verse cards, I decided to poke around your website more, and allll the way at the bottom of it, finally found your "About Us" page, which ends with this:

...look. there's nothing inherently wrong with being christian. but to say "we do not wish to impose any beliefs on our customers", and to then put bible verse cards in people's orders? that's sneaky, and I don't like it.

I also think it's a bit sneaky that you've flagged your tumblr account as pro-trans on shinigami eyes. at least, I assume you flagged it yourselves, because I didn't find a single post on your blog that mentions trans issues.

(though you have, entertainingly, reblogged some stranger things fanart, and a castiel cat cosplay)

and while your website uses very gender-neutral language, your "About Us" page doesn't say anything about being inclusive of trans people, just that you don't "discriminate against anyone who has a different belief than ours."

unfortunately, that's not good enough for me. I have this sneaking suspicion that "trans people are the gender they say they are" counts as a "different belief".

lastly, since you say on your website that people can message you asking about your faith, I had a friend do that!

baptists. you're baptists, which is a pretty conservative denomination.

and according to you, part of that 10% you donate goes to your local churches, and some missionaries. who are also probably baptists.

so.

in the end, I just...don't trust you? I don't trust that the 10% you're donating is going to organizations that aren't homophobic or transphobic. I don't believe that you're not trying to impose your beliefs on others, because that's what you're obviously doing. I mean, your "About Me" says that one of the reasons you built this company is to spread the gospel.

and I especially don't like it that you reached out to me (an openly queer person) for promotion without mentioning that you're an evangelical company.

so to answer your question, Julie: no. I am not interested in doing ads or promotions for you on tumblr. and honestly, you probably picked the wrong website for this kind of thing.

#asks #carionausa #cariona #additional info for the record:#my friend told me they did say they donate to some environmental stuff #like maybe wwf they thought?#but from the wording they weren't sure #and also another charity called #Connecticut Quest for Peace #which I couldn't find out much about #it doesn't have a rating on charity navigator #but the posts I found about it on tumblr are all...mmm #very religious in nature #and no judgement if that's your jam #but it's not my kind of thing #so #no thanks #I don't like the idea of promoting a company that gives money to the baptist church and other religious organizations #I just don't #sbs rambles #and I couldn't even find much information about cariona besides this #no business registered in georgia under that name so #who knows #I wonder...hmm #if I was just looking at this information #with no other context #with the errors on the website #and the shipping from china #...I wonder where Cariona _is_ based.#or if it is in georgia - what name is it registered under?

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