“I Was Very Surprised To See She Had A Black And White Photograph Of Uncle Rich By Her Bedside.

An underwater graveyard in Llyn Celyn, Wales. The village it was located in was flooded in the 60’s to supply water to Liverpool.

I can't tell if it's gender envy or a feral desire but this is what occupies the mind rn

It's a delicate balance

When I tell you I NEED Aziraphale and Crowley to kiss again, I mean it.

Anyone who thinks asexual people don’t kiss (or don’t have sex, but that’s not the point of this post) is misinformed. Asexual people - or celestial beings, for that matter - absolutely can and do express feelings and desires by acting physically upon them. Many ace people enjoy the sensations, the nuances, the feelings involved in the physical expressions of love - the only difference is HOW they experience attraction, which has NOTHING to do with kissing or sex, but with what motivates wanting to do those things.

With that said, let’s go back to everyone’s favorite idiots: Aziraphale and Crowley.

During their kiss, you can literally see them pulling each other in, like they need to be as close as physically possible in that moment. You can see it as Aziraphale embraces Crowley for a split second, and you can see it as Crowley throws himself onto Aziraphale more and more during the kiss. He can’t even pull back for a single second, not even to adjust to the kiss - he just GLUES his lips to Aziraphale’s.

Aziraphale’s look after the kiss CANONICALLY means “do it again, please, right now”, as Rob Wilkins already clarified. And that is writing perfection. It creates the angst - the cue - we need to make sure a second kiss - the reward - happens. I’ve been saying this in almost every post, but here i go again: the whole point of angst is that it HAS to pay off eventually, it HAS to be followed by relief, otherwise it’s just angst for the sake of angst.

Aziraphale mouths “no” as Crowley is leaving. He doesn’t say it, but he wants to. Whatever that means, whatever the reason for the “rejection” after the kiss was, the kiss changed something. He wasn’t expecting it, but he was heartbroken to see that Crowley thought he didn’t want it. You can see him not being able to keep his eyes off the door - and later on, off the window he can see Crowley through. He almost changes his mind - and that is still true even if he had a plan all along, he didn’t think Crowley would KISS him and that blows his mind.

He touches his lips after Crowley leaves. He relives that moment by doing so, but also realizes something completely new: Crowley did what Aziraphale had spent millennia wishing for him to do, but did it in the worst possible moment. He almost loses the strength to carry on with whatever it is his plan required. But he doesn’t. He pulls it together, and goes back to heaven.

Wether Crowley knows he has a plan (the “trust me” theory) or believes he was truly rejected, they both know they crossed that line for good. They both know that, if they’re ever reunited, they will never be able to act like platonic friends again. Aziraphale, in a beautifully made parallel to the ox rib scene, realizes he had been starving for Crowley’s touch. And that is just absolutely beautiful.

If you’ve seen my post about why this couple NEEDS a happy ending, you already know why i think Good Omens is the perfect show to give queer couples back their hopes for love. I think we are all tired of the tragic gays / couple baiting fictional couples. Now we need the happily ever after. The fairytale. The cheesy, chaotic, rom-com-y, EPIC resolution. We NEED them to kiss again. We NEED them to be happy.

I REST MY CASE.

aziraphale: a guide on "how to train your demon" featuring manipulation of the puppy-dog-eyed variety, being THAT!BITCH and the handslide™

+ bonus (role reversal)

Elizabeth Taylor & Richard Burton: A Tempestuous Triple Feature by Kimberly Lindbergs

Decades before high-profile celebrity couples like Kimye and Brangelina dominated the spotlight, Elizabeth Taylor and Richard Burton ruled the red carpet. The two actors made headlines around the world after their extramarital affair on the set of CLEOPATRA (’63) ignited a flurry of scandalous news reports. Taylor and Burton eventually married, but during their turbulent 12-year relationship they were hounded by the paparazzi wherever they went. Liz and Dick, as they were often referred to in the press, graced countless magazine covers and every move they made was analyzed by gossip columnists and overzealous fans. Audiences loved seeing them on screen and the two actors enjoyed collaborating so it’s not surprising that they starred in 11 movies together before their relationship ended.

FilmStruck currently has three of the films Taylor and Burton appeared in available to stream. If you’re unfamiliar with their work or are just eager to see two acting legends go head-to-head, this triple feature provides a peek at one of Hollywood’s most glamourous, tempestuous and talented couples.

THE V.I.P.S (’63)

THE V.I.P.S centers around a group of wealthy jet-setters whose flights have been grounded due to foggy weather. It also features an all-star cast including Orson Welles, Maggie Smith, Rod Taylor and Louis Jourdan. The central story focuses on an actress, played by Taylor, who is fleeing her wealthy husband (Burton) to run off with her lover (Jourdan). This glossy melodrama borrows heavily from GRAND HOTEL (’32), which you can also view on FilmStruck, and is one of two portmanteau films directed by Anthony Asquith and written by Terence Rattigan. Slight and soapy, THE V.I.P.S is not one of Liz and Dick’s most memorable outings but Taylor does look stunning in her Pierre Cardin costumes and luxurious jewelry, which was mostly owned by the actress herself thanks to the generosity of wealthy paramours including Burton as well as previous husband, producer Mike Todd.

THE COMEDIANS (‘67)

Based on Graham Greene’s political thriller of the same name and boasting a screenplay by the author, THE COMEDIANS offers a harrowing look at Haiti during the repressive reign of François “Papa Doc” Duvalier, who ruled the nation from 1957 to 1971. Much like THE V.I.P.S, THE COMEDIANS features another star-studded cast that includes Lillian Gish, Peter Ustinov, Cicely Tyson and future STAR WARS costars Alec Guinness and James Earl Jones. Taylor plays the discontented wife of the Uruguayan ambassador to Haiti (Ustinov), who is having an affair with a pessimistic hotel owner (Burton) under a looming cloud of government intrigue and upheaval. Like many political films of its ilk, THE COMEDIANS is rather slow-moving and talky, but it does contain some stunning cinematography provided by Henri Decaë. Taylor and Burton deliver surprisingly lowkey and effective performances and the background players, which include talented black actors such as Roscoe Lee Browne, Gloria Foster, Raymond St. Jacques, Zakes Mokae and Georg Stanford Brown, are uniformly good and lend the film much of its emotional gravitas.

WHO’S AFRAID OF VIRGINIA WOOLF? (’66)

Much has been written about this award-winning film directed by Mike Nichols and based on the critically acclaimed play by Edward Albee. Despite its notoriety, WHO’S AFRAID OF VIRGINIA? still packs an emotional wallop for the uninitiated. Taylor and Burton star as a discontented middle-aged married couple named George and Martha. George is an associate professor of history at a New England college and Martha is the daughter of the university president. Following a colleague cocktail party, the booze laden twosome invites a much younger couple (Sandy Dennis and George Segal) over for more drinks and small talk. But the get together begins to unravel when George and Martha engage in a verbal sparring match intended to berate and belittle one another. Taylor and Burton brought much of their own personal conflict to this shockingly frank and fearless film that literary analyst Christopher William Edgar Bigsby rightly called an attack on “the false optimism and myopic confidence of modern society.” Taylor and Burton, along with their costars, are in top form and deliver two of the most powerful performances of their careers in this grim, gloomy and deeply moving portrait of an American marriage in disarray.

good omens crack → 4/?

David Tennant pathetically destroying furniture; screaming in rage. Yass go girl

Yasss!

Motivational George IV

this gif is of David Tennant BTS of gomens and it’s keeping me alive