#ticketyboooo posts

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it's literally "to THE world"

not "to A world"

not any old world, THE WORLD, THE ONE WORLD THEY LOVE

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S1 final camera angle

Ok I literally JUST woke up for the day and this is what was in my brain: the gomens brainrot runs deep. I have to write it out and I shall from the coziness of my bed on a rainy morning :D This is gonna be a longish one!

Been thinking about this thanks to @vidavalor's post. As a fandom we know that Crowley and Aziraphale always position themselves the same way: Zira on the left, Crowley on the right (from our pov).

But wait! What about that final scene at the Ritz? It ends with a zoom-out of the two continuing their conversation: From Behind.

Why did they film this perspective? It's odd given that the rest of the scene is shot from the other direction. It breaks the 180-Degree-Rule, which is a "rule" in filming that prevents confusion for the viewer about where the characters are and what the action is in the scene. If there's an imaginary line between two characters, the camera cannot pass over that line when filming because then the pov changes.

This zoom-out is an example of a "Reverse Cut", it's literally the opposite of what we've seen for the rest of the scene. So why? They could have zoomed out from the table in the other direction, maybe sending the camera through the window for a cool effect.

This is shot this way on purpose. This is like a private viewing for the audience. We aren't in the audience's position anymore, we're in Crowley and Aziraphale's position. The two continue their conversation, which we cannot hear, so it's still a private moment for them even though we're getting a glimpse of it. I have to go back and watch again to really find examples but I think this is the scene that confirms the idea that when in private, Crowley and Aziraphale break their position rule (whether through them physically moving, or by way of the camera and how the scene is filmed), implying that it is something they do for public appearance. Like with this scene, they're still obviously sitting down and in the same place, but now the audience is welcomed into their pov for a moment. We are now part of the positioning outwards to others.

@vidavalor wrote about a footstool near the couch in the bookshop that would put Crowley on the left (in our pov), and that's one of the earliest scenes in the show between the two of them where they are completely in private. Here are some more examples I can think of off the top of my head/ what gifs I could find to use xD

Calling out specifically any time they're in the car; Aziraphale never drives, so Crowley is ALWAYS on the left (our pov), and it's always a private moment between them, no one else around. Look at the scene where they arrive at the hospital and how they get out of the car. They both specifically walk to re-position themselves on the "proper" side. (I can't find a gif of the whole bit but this scene here:)

This scene also has a brief bit where they switch positions again; they're reminiscing about a personal memory, 1941 and the magic show (even though the audience wasn't aware of it yet before s2).

Actually the whole bit at the hospital is very involved with camera angles (it would merit its own post at some point for sure.)

Calling out the Wall Slam™ Crowley on the left, Aziraphale on the right, UNTIL they are interrupted by someone else and the scene is no longer private, and the camera flips position for the rest of the scene.

Also Rome. Oysters. This one's odd, there are two very brief reverse cuts in this scene.

And lastly, this key shot of them going to their respective offices. This one stands out to me because it's not a "private" moment between them, but it shows that their "public" position matches how they have to arrive at Heaven and Hell. Aziraphale and Crowley actively go out of their way to position themselves relative to one another in public in such a way to face Heaven and Hell. And in this shot, we get to be a part of their pov. We get to be on their side.

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Just wanted to share some thoughts in case others are feeling this way:

Good Omens has been my favorite book for years. It's one of the things now that keeps me holding on when everything around in the world is going to shit. It's helped me more than I can put into words. But right now, it feels it's been tainted by what's happened, and it hurts. Until we know the truth it's going to hurt.

But this fandom is still here. This wonderful, wholesome fandom, making our own work, making content, AUs and metas, fanart and writing. Don't let this stop you! We're still here for each other! Good Omens is so much more now than its original form, and that is thanks to the fans for sure.

No matter what happens, please stay safe, and be smart about posting on the subject.

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Could realllly do with a hug from Aziraphale right about now. Or Crowley. Or both.

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Drinks in bed, soft touches, and loving talks <3

I headcanon that Zira blushes pink alll over when he's warm. And Crowley's freckly down to his hands and feet :D

Instead of sleeping I continued to draw; the hyperfixation is real. I'm going to go drink some water now! Good night!

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~Aziraphale's Flaming Sword~

Here's my poem for @isiaiowin's GOetry Monday prompt: Concrete! Let me say, this took soooo long to lay out! My hand is killing me! :D I really love the symbolism of the flaming sword in Good Omens, and how it's Aziraphale who gets to wield it. I posted earlier today with more thoughts about Aziraphale's sword if anyone's interested in reading more of my rambling xD Text under the cut:

Before the wild, unpredictable flames were tamed by humans, They adorned an ancient blade made for a guardian angel, Ever burning without a source of energy, as if by one's will alone Wisps licking at the air, emitting a heat that burns simply by proximity. To the peaceful guardian, it was a lifesaving gift, a tool for protection A symbol of the guardian's compassion and empathy for humanity Until it changed hands throughout the ages And its fire fueled the rage and violence and war Of those who would do harm to the world Causing devastation across time And yet, in the hands of a brave child That sword of fire and light and warmth Would defeat the evils of man when wielded with compassion and empathy.

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a little Crowley portrait drawn while tipsy~

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just thinking about how Aziraphale's waistcoat is all worn around the buttons and the hem and how he's been fidgeting with it and adjusting it for 80 years and when he sits with his hands clasped in his lap they rub against it and when he stands up he runs his fingers over the bottom to straighten it out and maybe he also fiddles with it like a worry stone when he's anxious and the fabric has smoothed down over so much time under his gentle hands and I just think that's beautiful