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jadislefeu) wrote2019-06-11 09:27 am
jadislefeu) wrote2019-06-11 09:27 am
Entry tags:
Good Omens
I watched it it all through a second time yesterday, I can't remember any other time I've rewatched a tv show that rapidly.
(For the record, I read the book once when I was sixteen or so and haven't read it since. I didn't remember much about it before Alex got me to watch it with him.)
ETA: Why the fuck does linking an account inside a cut break it and why do I always forget that that happens until I've broken my spoiler cut and have to hurriedly fix it, argh.
I have so incredibly many emotions about Crowley and Aziraphale and how they're disasters and in love.
Second watch through I focused a lot more on the smaller details of expressions and things and god, Aziraphale's face. Whenever he's thinking about or talking to Crowley, I just, augh. His expressions are so fucking tender and it just kills me dead.
The two absolutely most devastating bits (for entirely different reasons) imo are Crowley in the bookshop screaming YOU BASTARDS and his fucking FACE when he walks out the door fuck, and the toasts 'To the world'. (Oh my god, the way they say that. Ohhhh my god.)
One of my friends on twitter is also in agony about them and we keep yelling at each other and then they link me meta and I actually cried earlier over a post about the way Crowley pretended to be Aziraphale. Also at one about how he's projecting his trauma about Falling on his houseplants.
(Aaaaaaaa Azirapahle's glee telling Crowley about his trial. "I made Michael miracle me a bath towel!" Drags hands down face, how am I supposed to live with this.)
Both of their body language was just. so fucking good. Aziraphale proper and exact and delicate, and Crowley slouching insouciantly all over the place and drawling. I might need to make a character who slouches insouciantly and drawls now, because I am apparently About That.
It hadn't even occurred to me until I saw a thread from @midnight_pals on twitter about Aleister Crowley's writing, somehow, but oh god, Crowley is definitely named after him, isn't he. Probably by Gaiman, that seems like a Gaiman thing.
The fucking--the scene where Crowley pulls over on the side of the road to beg Aziraphale to run away with him, fucking hell. BREAK MY HEART WHY DON'T YOU.
I haven't actually looked into fic at all, I don't know how to find fic for anything but Harry Potter anymore. I probably will soon, I do want more of their just agonized useless asshole pining. My friend who's been linking me meta is also working on a fic, so I can hope they manage to finish that, I suppose :P
God but they have one of my favorite possible dynamics: mutual pining and "I don't even like you!"/"You do" (Drags hands down face, the bandstand, kill me.)
On the subject of, uh, the rest of the show, I absolutely despised the relationship between Anathema and Newt. She's beautiful and interesting and deserves better and he is a bowl of plain oatmeal and I could discern absolutely no reason for her to care about him. Also, being raised to do everything prophesied of you by your ancestor, being told you have to save the world from childhood, is incredibly fucked up, and being ordered by that upbringing to sleep with a dude whether you want to or not is EVEN WORSE. I liked the message of her burning the further prophecies, I guess, but not that it was at Newt's pushing rather than her taking charge of her own life, and also the idea of burning a document that had been preserved for over three hundred years hurts me deeply.
The bit with War telling Pepper to go home and play with her dollies and that war was for boys played really damn weirdly with War being female. There was no perceptible sense of irony there. Like, obviously she's a force of nature and not a person, but it was... weird.
The Riders' designs in generally were very well done. Famine's bone structure was stunning. I also really liked the design on that one(/three) demon in Megiddo with the eyelashes and the hair-horns, he(/they) was delightful.
Madame Tracy was really pretty, especially in the red wig. Alex said she was the same actress who played Queenie in Blackadder. She was fabulous. Everyone was fabulous, really, all the acting was great. (Gabriel, for instance--oh man one just wants to punch him in his smug self-righteous asshole face, the fucker. Very well done.)
It really didn't shy away from dark and horrible things like I'm used to TV doing? Like, the implication that the third baby was killed, the murder of the nun of the chattering order. Hastur eating all the telemarketers with maggots, the fire on the M25. Obviously most of those things were reset, but not all of them. And they were all in a very matter of fact way? It wasn't gratuitous any more than it was safe. I'm not sure I can think of anything else I've seen that struck that balance, which I am also struggling to describe to my satisfaction.
I wish Pterry could have seen it.
GNU Terry Pratchett.
(For the record, I read the book once when I was sixteen or so and haven't read it since. I didn't remember much about it before Alex got me to watch it with him.)
ETA: Why the fuck does linking an account inside a cut break it and why do I always forget that that happens until I've broken my spoiler cut and have to hurriedly fix it, argh.
I have so incredibly many emotions about Crowley and Aziraphale and how they're disasters and in love.
Second watch through I focused a lot more on the smaller details of expressions and things and god, Aziraphale's face. Whenever he's thinking about or talking to Crowley, I just, augh. His expressions are so fucking tender and it just kills me dead.
The two absolutely most devastating bits (for entirely different reasons) imo are Crowley in the bookshop screaming YOU BASTARDS and his fucking FACE when he walks out the door fuck, and the toasts 'To the world'. (Oh my god, the way they say that. Ohhhh my god.)
One of my friends on twitter is also in agony about them and we keep yelling at each other and then they link me meta and I actually cried earlier over a post about the way Crowley pretended to be Aziraphale. Also at one about how he's projecting his trauma about Falling on his houseplants.
(Aaaaaaaa Azirapahle's glee telling Crowley about his trial. "I made Michael miracle me a bath towel!" Drags hands down face, how am I supposed to live with this.)
Both of their body language was just. so fucking good. Aziraphale proper and exact and delicate, and Crowley slouching insouciantly all over the place and drawling. I might need to make a character who slouches insouciantly and drawls now, because I am apparently About That.
It hadn't even occurred to me until I saw a thread from @midnight_pals on twitter about Aleister Crowley's writing, somehow, but oh god, Crowley is definitely named after him, isn't he. Probably by Gaiman, that seems like a Gaiman thing.
The fucking--the scene where Crowley pulls over on the side of the road to beg Aziraphale to run away with him, fucking hell. BREAK MY HEART WHY DON'T YOU.
I haven't actually looked into fic at all, I don't know how to find fic for anything but Harry Potter anymore. I probably will soon, I do want more of their just agonized useless asshole pining. My friend who's been linking me meta is also working on a fic, so I can hope they manage to finish that, I suppose :P
God but they have one of my favorite possible dynamics: mutual pining and "I don't even like you!"/"You do" (Drags hands down face, the bandstand, kill me.)
On the subject of, uh, the rest of the show, I absolutely despised the relationship between Anathema and Newt. She's beautiful and interesting and deserves better and he is a bowl of plain oatmeal and I could discern absolutely no reason for her to care about him. Also, being raised to do everything prophesied of you by your ancestor, being told you have to save the world from childhood, is incredibly fucked up, and being ordered by that upbringing to sleep with a dude whether you want to or not is EVEN WORSE. I liked the message of her burning the further prophecies, I guess, but not that it was at Newt's pushing rather than her taking charge of her own life, and also the idea of burning a document that had been preserved for over three hundred years hurts me deeply.
The bit with War telling Pepper to go home and play with her dollies and that war was for boys played really damn weirdly with War being female. There was no perceptible sense of irony there. Like, obviously she's a force of nature and not a person, but it was... weird.
The Riders' designs in generally were very well done. Famine's bone structure was stunning. I also really liked the design on that one(/three) demon in Megiddo with the eyelashes and the hair-horns, he(/they) was delightful.
Madame Tracy was really pretty, especially in the red wig. Alex said she was the same actress who played Queenie in Blackadder. She was fabulous. Everyone was fabulous, really, all the acting was great. (Gabriel, for instance--oh man one just wants to punch him in his smug self-righteous asshole face, the fucker. Very well done.)
It really didn't shy away from dark and horrible things like I'm used to TV doing? Like, the implication that the third baby was killed, the murder of the nun of the chattering order. Hastur eating all the telemarketers with maggots, the fire on the M25. Obviously most of those things were reset, but not all of them. And they were all in a very matter of fact way? It wasn't gratuitous any more than it was safe. I'm not sure I can think of anything else I've seen that struck that balance, which I am also struggling to describe to my satisfaction.
I wish Pterry could have seen it.
GNU Terry Pratchett.