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See, that’s what the app is perfect for.

Sounds perfect Wahhhh, I don’t wanna
niceprophecies
Good Omens puts a feminist and queer twist on the apocalypse
Usually, when we think of angels and demons, at least in Christian mythology, we think of them as diametrically opposed forces, destined to
SYFY WIRE

“What’s really cool about the series is its persistent feminist and queer undertones, something desperately missing from the Christian apocalypse elsewhere.[…]

The most obviously queer and feminist aspects of the series are Aziraphale and Crowley and the relationship between them.[…]

Most importantly the two share a tender dandy love that is obviously queer, whether or not they would subscribe to any LGBTQ label. On top of that, considering that angels are not born, but created, and have no need of reproductive organs, it’s safe to say that they are nonbinary at least in a very literal sense (as is true in the novel), and perhaps socially and physically as well. For instance, Crowley seems as comfortable dressed as Crowley Poppins as he does as Crowley Bowie. It doesn’t matter how femme or not his appearance is. It doesn’t matter if he’s wearing a skirt or sporting a wig. He’s always swaggering in his full gender-defying glory.[…]

At first, the queerness feels like subtext, like another time queer audiences have to read between the lines to see the love we so often wish for, but it’s hard to miss the genuine love and commitment between Aziraphale and Crowley. There’s an interaction so tender — and a line so potently delivered by Sheen that it will make your heart flutter and sink — that calling their love subtext feels impossible.[…]

“You go too fast for me, Crowley,” Aziraphale says before exiting the car.

It’s a short exchange, but it is so tense, so emotionally charged, so filled with love and hesitation and desire that I don’t know how anyone could come to any conclusion other than that Aziraphale and Crowley are nonbinary, asexual partners who have been together and falling in love for over 6,000 years.[…]

Over and over, Good Omens fundamentally rejects toxic masculinity and instead proffers a nonviolent, feminist, and queer perspective on the end of the world.”

good omens review syfy wire ineffable husbands feminism
iwilltrytobereasonable animate-mush
glumshoe

I’m so used to interacting with 10-11 year old boys from my years at camp that today I accidentally fell into my counselor setting and started having absurd arguments with a middle schooler about how sneaky I was.

“I’m very sneaky,” I said. “I’m level 12 at sneaking. I’m a black belt. When I was 16 I got my sneaker’s license but had to take the test three times because I was so sneaky the judges didn’t realize I was there. No one is as sneaky as I am. They’ll let you get your sneaker’s permit at 15 but you’re still too young to legally sneak, and by telling me how sneaky you are, I’m legally obligated to report you to the sneaking police for underage sneaking. It’s part of the Sneaker’s Code of Conduct.”

“There aren’t any Sneaking Police,” he said.

“That’s what you think,” I replied. “But watch out. They’ll sneak up on ya.”

Then he told me that I wasn’t sneaky enough to sneak away from him. He forgot about this boast a moment later and turned his head, at which point I bolted and heard him shriek his frustration at my having snuck off.

itsachristastrophe

#compulsive absurdist worldbuilding to children is an addiction

I have never before heard so accurate a description of my experience as an assistant preschool teacher

enby-distortion enby-distortion

things from episode 1 when Crowley takes the escalator down to report to Hell

the-beelz

–Beelzebub striding through the room with absolute confidence radiating big dick energy

–the very PRINCELY way they demand ‘TELL US ABOUT THE BOY, WARLOCK’ and the utter respect they command in the room

–srsly, MAKE WAY FOR THE PRINCE OF HELL

–Hastur and Ligur standing next to each other as a matter of fact

–Hastur’s little ‘but is he evil’ and his slight little hand movement to go along with it.

–Ligur asking if Warlock’s killed anyone yet, and then immediately going back to stand by his husband

–Ligur goes right up to Crowley to question him, but Hastur stays back. what does it mean? what does it all mean? Hastur not wanting to be the center of attention, or maybe just wanting his husband to do most of the talking, especially in front of everyone

–Ligur is beautiful. not just in this scene but every scene he’s in. i’m contractually obligated to mention just how breathtaking he is in every post.

–the mild grumbling from the demons in the back when Crowley says ‘but there’s more to being evil than just killing people, eh?’ and Beelzebub glancing around

–starting to think that Crowley’s saying ‘they love me down there (in hell) is a little bit unreliable narrator. between this and him not getting a wahoo, ummm. They put up with him, certainly. Ligur saying ‘I suppose’ in regards to what Crowley says, and begrudging agreement from everyone else is not exactly a stirring applause.

–Hastur and Ligur are Married

–Beelzebub owns every scene they are in

–love how Beelzebub is someone of VERY FEW WORDS (and not a single wasted word, very to the point) but VERY POWERFUL because that’s such a princely characterization and I’m here for it

–where’s Dagon in this scene??? probably slogging through Crowley’s paperwork and cursing the day he fell tbh

–Hastur’s eyes watching everything and taking everything in, even though he only has one line here, he’s important and knows what’s going on

–Ligur has definitely learned a lot more about Crowley (and Earth, possibly), since we met him five years ago

–HASTUR AND LIGUR ARE MARRIED

enby-distortion

joqatanarama

Ligur is unbearably beautiful

YOU’RE SO RIGHT

joqatanarama @jokatanarama