#this is not a good show

[pilferingapples]

I haven't made any secret of the fact that I don't think the 2000 LM miniseries is good like...at all...in any way....BUT I am extremely intrigued by their unaging Immortal Gavroche, which I'm pretty sure was unintentional and just another symptom of the really ruined timeline they have going BUT IT HAPPENS NONETHELESS

and ALSO intrigued by this bit where he walks into the barricade, sort of ambles around, and then absolutely zeroes in on Bahorel (yes, that's Bahorel! It's even verbally confirmed later! and he has a red waistcoat! One Actual Point to LM 2K from me XD) like that's who he was looking for in the first place

...the intrigue is not lessened by me being highly suspicious that Bahorel is also kinda immortal in this one (again: probably not on purpose, there's just. there's a lot of issues with the editing in this. Whoo boy this is not a good show.)

ANYWAY thanks for the 1.5 minutes of blorbo interaction , show, I'm taking this and the Immortal Gamin and nothing else

[tuttle-did-it]

Rewatching Providence entirely and ONLY for Mike Farrell. However, a lovely surprise did come with Michael McKean in the famous Jay-Leno-talking-dog episode.

[wren-was-here]

god i need to be forcefully removed from this fandom apparently i type stuff about this goddamn show so much that as i was doing an assignment today i tried to type an author's name and it autocorrected to Strauss i stg i need to have my brain dunked in a bucket of ice water or something

[marisatomay]

People will claim to be a fan of some thing and then hate all of the themes and motifs and story lines and plot lines and protagonists and antagonists like man I don’t think that you actually like it here

[ilona-mushroom]

Not socialist in a “I won’t have to work” type of way but socialist in a “I’ll still be working but I won’t be worried I won’t make the rent” type of way. In a “billions won’t be hoarded by one person” type of way. In a “janitors, fast-food workers, child care workers, preschool teachers, hotel clerks, personal care and home health aides, and grocery store cashiers, will live comfortably” type of way. In a “the sick and elderly will be cared for” type of way. In a “no child should work” type of way.

[powpowhammer]

faded blue house portrait hanging on the wall at the local urgentcare

[glitter-stained]

Random goon: Hey boss, were you the one to pick that name as an alias? And why this one?

Red Hood : I used to have another name, before... A long time ago. But that person is dead now. I get to choose for myself now, they can't take that from me. I won't let them.

Goon: Huh.

***

Random Goon: Say boss, why do you never take off your shirt in front of us?

Red Hood: Well uh, I actually have that really fucked scar on my chest and I'm not comfortable with...

Random Goon: Don't worry boss, we get it, you don't have to explain yourself to us.

***

Red Hood, high on some toxin: God, I wish my family...

Random Goon (on boss-sitting duty): why not try reaching out to them?

Red Hood: They would never accept me as I am now... They wouldn't agree with my so-called "life choices". Besides, they don't miss me, they miss the person they think I used to be... I wasn't even a man when I last saw them.

Random Goon: Damn boss, that sucks.

***

And then the goons throw the Red Hood a party on trans visibility day and Jason is so confused he straight up cries.

[lordspoooky]

Ice king is a really good character because they intoduce him and you're like "haha what a freak what's wrong with him" and then the show goes "oh! You want to know? Let me show you :)" and you end up just sitting there like

[moss-balll]

they really brought david tenant’s son in and said hey do you want to play a gay little boy in good omens 2. just a little camp mf. nepotism done right.

[angelfic]

annabeth and grover frantically submerging percy in water the way you’d put an iphone in a bowl of rice

[mo-mode]

Grover: Sir 🥺🥺 we’re so sorry but we have no idea what happened to our train cabin—

Percy and Annabeth: WHAT KIND OF STUPID ARE YOU, MR. TRAIN COP?! OOOH YOU THINK SOME TWELVE YEAR OLDS DID THIS?? SO WHAT YOU’RE GONNA ARREST US??? HUH???? POST UP

[reallybadblackoutpoems]

secrets of farming (1863) - john w. large

"yeowch augh taking damage ough eurgh"

[ayo-edebiri]

This is canon 😭😭😭

[emily-e-draws]

RANDOM DASHBOARD INSPECTION!

[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 :)

[bluhtack]

"Well, you've still got one of them"