#ok sir...

[doctorrobinavitch]

"Are you flexing, Hatosy? You better not flex. Don't you flex on me" x

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)

[rpfofficial]

are you bisexual. have you been bisexual. Will you be bisexual. when will you be bisexual

[nooskadraws]

pride and prejudices your hansry ✨🌿

[crystallizedtwilight]

Motivational speaker Buggy!

[skeletoninthemelonland]

"Got you! Ha ha ha ha ha!"

[eriochromatic]

winter outing featuring cross guild and company 🌨️🌨️🌨️

[littlemsterious]

ok no one told me this, so just so everyone else knows:

Cinderella’s Castle has hella puppets. it has incredible puppets. holy fuck does this show have puppets.

i love puppets so much and these puppets are so good. like, these are some phenomenal puppets i dont know how to cope. I’m going to be drawing these characters until i die, this is it for me.

[astriaels]

also

[tinysweetbunny]

:''''')))) if only

I did the first one as practice (again) specifically for drawing expressions on human faces, and then I attempted a hug,,,, there's definitely room for improvement in both of these but I still love them so much,,,,

[incorrectgliyeraba]

Elphaba: Our relationship?

Glinda: We’re friends.

Elphaba: Good friends.

Glinda: Girlfriends, actually.

Elphaba: Yes. We’re girlfriends.

Glinda: We’re in love. We’re lovers.

[justsmth2]

please I need more of them

[pharawee]

How do I feel? I feel nothing. Because I already knew I'd win.

▷ PIT BABE THE SERIES 2 · Episode 1

[laurrelise]

unfortunately i’ve done it again

[resident-dumb-fuck]

arthur pulling the sword from the stone is so funny to me conceptually because can you IMAGINE being kay in that situation. you break your sword in the tournament so you go up to your shitty twelve year old brother and ask him to get you a new sword so you can yknow keep fighting in the tournament. when he comes back he hands you the sword that you know full well means that he's the rightful king of england. he's also like twelve. you think you should kneel but your body doesn't want to work that way. you ask him where in the fuck he got the sword and he confirms that it is indeed from the big fuckoff rock in the church. he doesn't seem to realize that pulling it makes you king of england. just kind of to see what happens you yell that you pulled the sword from the stone. they ask you to prove it and obviously you can't so arthur goes "hey i actually did it :)" and he puts it back in the stone and then pulls it out again and suddenly everyone in the room is kneeling and you're just standing there like an idiot because okay, sure, what the fuck, your brother is the rightful king of england, why not. arthur looks like he's panicking. it takes a full like ten seconds for you to realize that you staying standing looks like defiance to the king so you kneel. and then your dad asks him "hey since we raised you can you have your brother do all your paperwork forever" and you just kind of have to deal. i would be so pissed off

[narfin-frood]

pivotal moment where wander "has to" integrate sylvia into the hivemind and it EATS at him and it's the catalyst for a great deal of his redemption arc

GOOD PROMPT!!!! VERY GOOD PROMPT!!! i'm sorry the captions and timing are a little fuckedup but i could not REST until i finished this. i do recommend pausing to read some of this, and if that ends up being tedious, i'll put the thumbnails with a transcript under the cut!!

TRANSCRIPT:

[interior, planet yonder. wander growls in distress, green lightning sparking around him]

MR. METEOR: peepers, we gotta get outta here! [he grabs peepers by the hand and takes off]

WANDER: N-N-N-NO! YOU WILL NOT UNDO ALL MY HARD WORK!!

[wander growls again. sylvia covers her head to protect from falling objects]

SYLVIA: WANDER! are you okay??

WANDER: I'M FINE!!!

SYLVIA: really?? cuz this place is lookin' like it might not hold up much longer!!

WANDER: NO!!!

[wander rubs his forehead with his fingers, grimacing with effort. the lightning dissipates. cut to mr. meteor and sir peepers, at a crossroads. mr. meteor is looking up and around the ceiling as peepers scampers around him, looking for the way out]

SIR PEEPERS: ohhhh where'd we park?? which way is out??? ohhh grop it all looks the same!!! we're trapped!!!

MR. METEOR: it stopped...

SIR PEEPERS: [glances upward] ...huh.

[cut back to sylvia and wander]

SYLVIA: that's some willpower you got there, buddy...

WANDER: sylvia?

SYLVIA: hm?

WANDER: i want you to go after them. and i want you... to hurt them.

SYLVIA: wh...what...?

WANDER: i believe i've made myself clear.

SYLVIA: [shakes her head] no. i'm not doing that. you don't want me to do that.

WANDER: AND WHO ARE YOU TO ARGUE??? FOR THE GOOD OF THE COLONY, SISTER, I ORDER YOU TO GET THEM!!!

[wander breathes heavily from the effort of screaming. sylvia looks disgusted.]

SYLVIA: [removing her cloak] alright.

WANDER: w-w-wait, what're you doing?

SYLVIA: i'm leaving. [she wads up her cloak into a ball] if this is the kinda operation you're running now, i don't wanna be part of it. have fun spreading kindness across the galaxy.

[wander stares at her, wide-eyed and baring his teeth in an intense frown, as she walks away]

WANDER: [reaching out to grab her with several arms] YOU GET BACK HERE RIGHT NOW!!!!!

[cut to mr. meteor and peepers, who are running down a tunnel]

MR. METEOR: are you sure we're going the right way??

SIR PEEPERS: i have NO IDEA sir

MR. METEOR: it opens up ahead! this might be the way out!

[camera zooms in and focuses on the end of the tunnel. something drops from the ceiling right in front of the exit, unfolding itself to take the form of sylvia. she has two mushroom arms sticking out of the sides of her head, connected to the ceiling, and her cloak is on again.]

MR. METEOR: UH-OH!

SIR PEEPERS: OH GROP

[closeup on sylvia's face. she snorts]

MR. METEOR: she doesn't look too happy, peepers!

SIR PEEPERS: why are you saying that like it's MY fault??

[sylvia mimics rolling up the sleeve she doesn't have and crouches, preparing to leap. peepers reaches for his sword.]

SYLVIA: GRRH!

[sylvia leaps into the air, screaming, aiming for peepers]

SYLVIA: YAAAAAAAAH!!!

SIR PEEPERS: ENGARDE, SHE-BEAST!

[shot changes to a flat shot from the side, and sylvia sails over peeper's head, crash-landing on the floor with a smack. she slides forward until she arrives at mr. meteor's feet.]

MR. METEOR: uhh...?

[sylvia shoots back to her feet, grabbing mr. meteor by the collar and winding back to punch him in the face}

MR. METEOR: WHOAWHOAWHOAWHOA WAIT!! NOOOOOO NOT THE FAAAAAAACE!

[sylvia's fist makes surprisingly gentle contact with hater's jaw. he looks at her in confusion, and sees her crying]

MR. METEOR: uhh. okay. um.

[he begins to scoot past her and away. sylvia crumples to the ground, shaking]

MR. METEOR: seems like you're goin' through a lot right now, and...if you're done, y'know, trying to kill us, or whatever that was...

[he trails off and makes eye contact with Sir Peepers. They dash off down the tunnel and disappear.]