fakemichaelsheen:

-the theatre, 1597-

aziraphale, wiping tears: what did you think?

crowley: …

aziraphale: did you not like it?

crowley, hesitates: weeell…

aziraphale, sighs: what was wrong with this one?

crowley, shrugs: I don’t know. it was all so…depressing. I mean, they were kids, angel

aziraphale, rolls his eyes: it’s romantic

crowley: it’s morbid

aziraphale, shakes his head: yes but it’s about the star crossed lovers. the forbidden love. the tragedy. two feuding families. you wouldn’t understand

crowley: *stares at him*

crowley, incredulous: sorry, did you seriously just say that?

aziraphale, oblivious: yes. so?

crowley, sighs: nothing *takes his arm* come on, let’s get out of here

aziraphale, smiles: yes, I believe I owe you a drink. for coming with me

crowley, nods: several, I should think

aziraphale: it wasn’t that bad

crowley, glares at him: dead kids, angel

aziraphale, agreeing: yes, I see your point

memeuplift:

mizgnomer:

Hippity-Hoppity Crowley

arthursdent:

- sherlock holmes
↳ for @crvwly

spit8:

Wendy Klemperer

Howling Naildog

1999

memeclassheroes:

siphersaysstuff:

docchloroplast:

herzspalter:

One of the most insane corporate decisions in entertainment media ever in my opinion is still Hasbro doing the 1986 animated Transformers movie where they violently kill off over 10 recurring beloved characters on screen, including the main guy, and then were surprised when children showed severe anguish over seeing Optimus Prime slowly dying of his wounds in a fucking hospital

What people fail to realize is that the execs saw Transformers as a commercial, a way to sell a product. They didn’t think of Optimus as a hero to kids; he was a robot that turned into a truck and had a plastic figure that wasn’t selling anymore, so they told the writers to make room for new robots that turn into trucks and could be sold in plastic. Of course the backlash surprised them; they only think of money money money. That’s capitalism, baby, and it’s capitalism that brought him back as a Powermaster.

It’s not simply capitalism money money money. There’s a non-malice/greed-based reason stuff like this happened. Well, mostly-non-greed-based, but… you’ll see.

It was very much a different time and a very different market.

TF:TM was being developed as far back as 1984, still very, very, VERY early into the era of “advertainment”. Having an entire cartoon made to advertise a toyline was pretty much ILLEGAL just a couple of years prior. Companies were in uncharted territory here. The only “success story” at that point was He-Man and the Masters of the Universe, and that one was 1) the first to try this out, 2) only like a year old or so, and 3) positively fucking TIMID in what it was doing with this new advertising medium. The entire toy market was very much in the “throw everything at the wall and see what sticks” mode cuz it was about all they could do.

In the early 80s, toys were absolutely thought of as things to amuse a child for a fairly short time then be disposed of or forgotten and replaced by another toy, or no toys at all as the kids “grew up”, and had been for decades. Most kids didn’t hold onto those toys as they turned into teens, and sure as shit not into adulthood. We were a good 15ish years away from the boom of “adult toy collectors”. The reason clean vintage toys are expensive today is because toys got played with to hell and back and if they weren’t ruined in the process, they ended up in a landfill or got garage-saled to another small child who would then take the toy further on its journey to plasticine Valhalla.

So yeah, they didn’t really have a good idea how attached kids could get to these toys as characters. And really, a lot of that hinged on lucking into the right creatives for the advertising vehicle who put a lot of priority on making the advertisements also genuine pieces of entertainment (also probably some lingering bitterness over the squeaky-clean restrictiveness of 70s Hanna-Barbera era of cartoons that could be channeled into envelope-pushing now that they could be a bit more… “PG” with their works).

I don’t blame them for what they did, really. I really don’t think they could have known.

mswyrr:

myeverydaytruth:

Beware of what spin is coming next in the media about the union strikes! The Levinson Group is real good at its job, so there’s gonna be a lot of undermining happening soon. Don’t fall for it!

As a WGA strike captain put it on Twitter:

They could just pay their workers fairly, instead of throwing money at PR firms to pretty up how they treat people like garbage.

twilightcitysky:

eidetictelekinetic:

ineffable-endearments:

eidetictelekinetic:

Oh my God

Aziraphale is in his Adam-at-peak-Antichrist phase. The point where Adam’s puppeting his friends & saying “it’s a bad world but we can fix it.” People keep saying Zira’s fallen back into his old Heaven is good mentality but it’s not quite that.

His immediate impulse is to say he doesn’t want to go back. He’s convinced by the combo of “you can fix things” & “you can bring Crowley.” Leaving the issues of his reasoning wrt Crowley aside, he’s hesitating again after the argument, till Metatron brings up the Second Coming.

This isn’t about “Heaven is good and perfect.” This is about “Heaven has always claimed to be good and I can make that happen now.” Just like Adam in Antichrist mode. This is about “I can be the right people & stop the next apocalypse, unlike last time when my call went wrong.”

It’s not exactly a regression so much as a sideways swerve of some kind, imo.

YES!

I feel like…the first story, the book/season 1, is going to be a blueprint for the overarching plot of the whole show, and ultimately, it will result in Aziraphale and Crowley learning the same things that caused Adam to reject Satan.

It’s not a regression at all, in my opinion. I understand why it feels that way to a lot of people, but Aziraphale has never been promised the power to make a real difference before; he was only offered a choice of “go along with Armageddon” or “struggle for Earth until the very end.” The Metatron knew he wouldn’t be able to resist being told he could make a difference. It’s what he was asking the Metatron for in the first place.

And it matters that what brought Adam back to himself was love - but crucially, it was both his friends being brave enough to walk away, to set their terms, and his own memories of his friends and parents’ love.

I’ve been yelling my head off for a while about how the key at the heart of Good Omens is love (and how my brain associates that with a very different canon, lol) and that’s still going to be true.

In a way, both Aziraphale and Crowley have taken that walking away role, because of course unacceptable terms go both ways. Running away is as unacceptable to Aziraphale as Heaven is to Crowley.

Aziraphale has to learn what Adam-as-Antichrist learned - that he’s a person, who loves and is loved, and that you can’t just make things happen. You can’t make people stay with you, you can’t slot them into neat roles.

But Crowley has to learn that last bit too - you can’t just tuck away a couple people (or one angel) and let everything else implode, you have to try to stop it. And I think what he’ll learn is what Adam and the Them seemed to understand instinctively - that it’s worth it to try.

And it’s worth it because he loves the world like he loved his stars, I just don’t think he’s fully realized it yet.

And, circling back to love and standing together, Aziraphale has… a lot more amends to make than a little boy who scared the fuck out of his friends, he and Crowley need to have a long conversation and find the places where they both went wrong, but in the end they’ll be there together.

I need to read/ make a post about the themes that crop up in season 1 and 2. This is right on the money. Aziraphale at the ball is absolutely Adam puppeting his friends, and they’re both drawn by a desire to see things work out the way they want them to, whether or not it’s good for anyone else. It’s not malevolent, but it is blind.

wvterways:

dreaminginthedeepsouth:

Photographed by Martin Schoeller for The New Yorker in 2002:

 "I was hired by the New Yorker in 2002 to photograph Robin Williams, and after doing my research what stood out most for me was that he was a very physical comedian. I came up with this idea to photograph him swinging from a chandelier in a grand hotel room. Most publicists shoot down these kinds of wild ideas, so I didn’t tell anyone what I was up to, but rigged up a chandelier at the Waldorf Astoria hotel for him to swing from. When Robin got there and saw what was happening, he lifted up his shirt and showed me this enormous scar on his shoulder. He’d just had surgery and couldn’t so much as lift his arm. He was so disappointed! He really felt bad about not being able to do it, because he loved the idea and really wanted to help me accomplish my vision. 

Unlike most Hollywood stars, he was unfazed by his success and position. He talked to everyone from stylists to the crew, to the hotel staff. We ended up asking a maid at the hotel to swing from the chandelier instead, and I asked him to just sit there and read a newspaper, which I think in the end was an even funnier, more unexpected picture.

[Follies Of God]

drunkenmantis:

📚🪴

theasgardiandetective:

tfw ur trying to write plot but ur brain only provides you with out-of-sequence snippets built on vague ideas and an endless number of potential outcomes that develop and branch out unnaturally over an unspecified timespan

evernever42:

I finished my miniature bookshop and installed it in my bookshelf. Three years of GO love. ❤️