Tickety-boo!

titsay
"I'm Dorothy Gale from Kansas"
Claire Keane
DEAR READER
KIROKAZE

❣ Chile in a Photography ❣
almost home
let's talk about Bridgerton tea, my ask is open
Not today Justin
Misplaced Lens Cap
Keni
$LAYYYTER
One Nice Bug Per Day
Cosimo Galluzzi
I'd rather be in outer space 🛸

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will byers stan first human second
dirt enthusiast

@theartofmadeline

Love Begins

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@mouthfulofplanets
Tickety-boo!
The only believable character in go3 is that one guy in the restaurant that finishes off Aziraphale and Crowley's food.
Me rn
never lose hope. somewhere, a middle-aged, gender ambiguous person with an advanced degree in an esoteric field and a fiber arts hobby could be crashing out and pinning all their remaining mental health on getting obsessed with your otp. any day now, the most elegantly written 100k fanfic you have ever read is going to hit ao3. it could happen. it has happened.
Just a silly idea I needed to get out of my head. ❤︎
Here is my piece for the collab with @qivence
GO3: Breaking the author-reader(viewer) pact
I know the theme has been talked about at length but well, what's one more? I have thoughts that I have expressed here and there but have not put them all together, so here we are. (and yes, although I have tried to look for more of Terry's words, there will be references to NG's interviews or blogs because whether we like it or not, he made the TV show, that's just facts)
The book ending ruined the TV show
One of the first things I said after watching GO3 was "this is a Terry Pratchett" ending, the getting rid of the supernatural that is, taking down the oppressive institutions so humans could be humans. I still believe that. However, TV Good Omens was no longer a Terry Pratchett story. The ending was set in stone, we knew that, but the road to get there diverged so much from the original road that it no longer fit. The book is satire, it is comedy, it is social commentary. The book was never a romance. The show however, was purposedly written as a romance all the way back to Season 1.
GO TV companion book
It was going to take skill to bring it back to its roots, to solve the romance satisfactorily and then bring the social, supernatural and human themes of the book to the forefront again so the ending would feel natural, earned. Skill that evidently the writers didn't have.
In addition to the writing, we have the the added issue of the creator and the promotion fanning the flames of the fandom, encouraging and teasing that the romance would be solved the way the fandom has been expecting for years; the way a romantic comedy is expected to end, with Crowley and Aziraphale finally being together and living happily in the South Downs. Crowley and Aziraphale, the characters that went through the hurdles, the ones with the shared history, the ones that fought Heaven and Hell for humanity and their own freedom. Those characters are the ones that needed the resolution and the reward. The show did none of that. Ultimately GO3 broke the author-reader pact and delivered an ending that did not fit the story it was telling anymore. It forced a humanistic fantasy satire ending onto a fantasy romance. The noble sacrifice of a heroic epic instead of the happily ever after of a romance.
The change from satire to romance
Back in 1988 two guys wrote a book about the end of the world (published in 1990). In that book an angel and a demon formed one team in favor of averting said apocalypse. One team among three others; the witch/junior witchfinder, the jezebel/senior witchfinder and the children, all of them, human.
And that's the thing, Crowley and Aziraphale were never the main characters, this wasn't their story. Their only inadvertent real contribution was keeping the eyes of Heaven and Hell (including themselves) distracted for 11 years, because not even the mix-up at the birthing hospital was Crowley's doing.
Locus Magazine 1991
The cold open of Episode 3 of Season 1 exists because Crowley and Aziraphale are not in a good chunk of the book and that space had to be filled somehow. The body swap does not exist in the book, neither does the bandstand or the conversation outside the bookshop ("I forgive you"), and there aren't mentions of Alpha Centauri. All of that was added to their love story.
As far back as Eden, the metaphorical butterfly started fluttering its wings (more like a metaphorical dragon). That first scene was changed from a random conversation between two onlookers to a meet-cute. From Aziraphale shading only himself to shading Crowley.
The sequel and the South Downs
Ok. Back to the novel. In Halloween of 1989, while promoting the book, they came up with the idea, the title, and the plot of a sequel. The Second Coming, Jesus on a plane, a road trip across the US, "668, the Neighbour of the Beast," all of that was imagined back then. But it never got written. And then in June of 2005 they met at the Audie awards and talked a little more about it. That's when the South Downs bit came about. That September at two different events -one Terry's, one Neil's- they talked about that meeting and the sequel and we learned about the cottage.
The authors, however, did not see them as a couple at the time. Good Omens still wasn't a love story, neither was the hypothetical "Good Omens 2".
Entries in NG's journal June 5th, 2005 and May 8th, 2006. The URL in the second one is a link to the first. And a summary of two events a fan (Irisbleufic) attended in 2005
Fandom's gotta fandom and fandom had been shipping these two for 15 years already. And whether you saw the book boys as a couple or not, this was still the end point the fandom looked forward to for 21 years. TWENTY ONE YEARS! Retiring together in a cottage in the South Downs was a glimpse into a happy ending nobody had expected, but now it was there, within reach. This didn't outright spell "romance" but it did spell "peaceful rest after everything is said and done"
Back to the ending
Yes, both book and show warn of "the big one" but in the book even the discussion about the big one was about humanity itself. The show mentioned it but it really didn't go into a discussion about it, instead it left us with a sense of peace and of triumph for our ineffables.
This is why I can see the seeds of a Terry Pratchett ending; still pursuing the meaning of humanity, of good and evil, and of Heaven and Hell as the oppressing institutions that represent it. And ultimately the abolishment of said institutions even if that means removing all the supernatural presence.
This is why I can see Aziraphale and Crowley walking away if that means humans get to be free of ineffable plans and tests, if that means they really get to walk their own path. I can see this making sense with a plot that, as the first book, focuses on humans and is not, you know, a love story.
On Terry's ideas about fiction and stories
In June of 1989, at Iconoclasm, a convention held in Leeds, Terry gave an interview to Octarine, Science Fiction & Fantasy Humour Appreciation Society where he talked a bit about his writing. This was barely four months before plotting the sequel in Seattle.
Have you always written humour? Not intentionally. It’s just a style that I tend to gravitate to. I tend to write in a fairly lightweight style, partly because I cannot handle the quantum’s and orbital mechanics and partly because fiction as a whole relies on the suspension of disbelief, that million-to-one chances can work. In an awful lot of writing you have to believe that there is a moral force on the side of your main protagonist which will see to it that he can win. There is a lot you have to take seriously but when you do you realise that it is actually quite funny, so you tend to subvert the thing. I find that whatever I start out by doing, it tends to wind back to humour in the end.
So maybe Terry did have Crowley and Aziraphale give up their ethereal/occult natures somehow, but if he did, he also would have given them and us something that made it worth it and fair. Even if that something was turning human and living their last years like that in their cottage in the South Downs, it would have felt fitting and fair.
Ok. I think that's it. If you got all the way to the end, I hope it made some sort of sense even if you don't agree with me :)
Let's talk - Part 4 (End)
Continuation of this
-Part 1-
-Part 2-
-Part 3-
(You are at the end)
@e-rated-beardo (because you requested a tag)
❤️🩹 Come up, darling, let us start to heal together ❤️🩹
What if Aziraphale hadn't left Crowley in that dirty alleyway? What if he had helped him up and held him close?
ρατreοn's mini print for June! 🔗 in my bio!
So we all think about the finale every day yeah?
I originally wrote this extended metaphor about the Good Omens finale as a comment on a post:
I think for a lot of us it utterly failed and we are left with exactly that - a cruel writing choice that people tried to pad to make it a bit less hurtful. The analogy that’s coming to mind is cushioning broken glass with cotton candy so you can eat it. Like, that’s not how that works. If someone tries to feed you broken glass you refuse and then try to make sure they don’t do that again. And also cotton candy dissolves with the slightest moisture so it’s ineffective anyway.
I can’t really blame the cast and crew for trying to make the best of it. I think a lot of them convinced themselves that because they were trying hard and had achieved magical things before and the story wasn’t that bad because sacrifice is noble and look Michael and David get to pretend to be at the South Downs together, that they’d somehow made stained glass out of this cotton candy and broken glass. But I only saw the vase that we could have gotten, if the writers hadn’t broken it in the first place, and the patchwork result that had at least some blood mixed in with the cotton candy and glass.
Now in comic form!
Worst kintsugi ever 😓
Me rn
shoutout to those who watched the finale before bed thinking that it was gonna be a great cap off to a long day and that they were gonna get a good night’s sleep
If Book Aziraphale accepted Metatron's offer #1
Pinterest + Aziraphale 🌱
So I had a thought, and this might be the cold medicine, but I wonder whether my addled brain is on to something.
So. This is a bit about Good Omens, but actually about a lot of queer stories with cynical or outright unhappy endings.
I think people like NG(fuck him sideways with a stick) see happy endings as overdone, cliche, old fashioned, predictable. If you want to be subversive, edgy and cool, you need to have a tragic ending, or an ambivalent one, or a cynical one.
But the thing is, if you're writing a queer story, you're writing for an audience that rarely gets a happy ending. The queers rarely get to live happily ever after in a joyful world. That's why we so deeply appreciate stories that celebrate queer joy. Because it's so rare.
So these (mostly) heterosexual (mostly) men write queer stories for queer audiences and don't realise that for us, we expect the tragedy, the ambivalence, the cynicism. For us, if you want to be subversive, write that happy ending, that hopeful ending, that affirmative ending. We won't expect it. I promise. You can be an edgelord by subverting the queers have to suffer trope. We will all be impressed by your audacity. I promise.
Nothing is more edgy and subversive than queer joy. Try it out sometime.