his bringing back "you wear fine things well" the little recognition of that moment from their past where they could've taken the step but both chickened out. The theme being to be better and to do better, to love your person better, to be fucking braver dammit, and now them just going for it. The kiss in the moonlight they denied themselves, now coming full circle with fingers in hair and softness and want, so much fucking want. The ending of it with their silliness, the quiet acceptance of what they are to each other, no drama, just realisation of "I'm what you got and I'm fucking keeping you"

CROWLEY & AZIRAPHALE + @my-gender-is submissions

↳ @lgbtqcreators event 16: raise your flag [insp]

Originally posted by icyolive

Ok so the ONE thing I will give Crowley a little bit of shit for ( and even then I’m so sorry bbg but just listen) is the “ no nightingales” line.

Cuz that was so unnecessarily cruel?? Like at this point they’d already broken each other’s hearts. This is before his last hurrah to communicate via smooch. So like just why?? Why throw that in his face? Your song? The symbol of your love? Yeah it smushed our hearts but it cut Aziraphale deeper than all of us combined. Look at his face after Crowley says this. He’s not just hurt. He’s angry. He’s pissed that not only has he been rejected ( his POV) but now Crowley is just kicking salt in the wound. I think this is the only time on their whole entire history Crowley has truly and willfully been cruel to his angel. Which like.. Crowley you dumbass! You can’t just say the worst possible thing to the person you love most in the universe and then kiss him!! On what planet was that going to work?!?!

Originally posted by hidekken

"And we've spent our existence pretending that we aren't" is the queerest line in good omens for me. I mean, most Queer Experience line, for me personally. It's like a gut punch. It wakes me from sleep. Fuck.

it is so beyond fucking funny to me that azirphale knew exactly what he was doing when he threatened to never speak to crowley again. because the world could end and yeah he'd be a little torn up, but never talking to aziraphale again?? well you should've said something earlier let me alter the fabric of the universe and stop fucking time so i can still listen to my husband talk about old books.

Crowley didn’t get the holy water ‘insurance’ from aziraphale yet for their next meeting he still risked life and limb and hell’s wrath just to rescue aziraphale from the paperwork of discorporation in a literal church. Feeling normal about this

If you would like to feel even more normal, consider that Aziraphale even offers him straight-out after the rescue, "There must be something I can do for you," when not five minutes previous Crowley was like "Oh hey look at all that unguarded holy water," so we know Crowley's got holy water on the brain. But Crowley doesn't answer Aziraphale's offer with "Bitch you know perfectly well I want holy water"; he answers, "Forget it." He makes it unmistakably clear that the church rescue was not about hope of quid pro quo: it was just an act of friendship.

[plant shop owner x local artist au!!] a new plant shop opened up across the street and the artist finds himself a new muse :]

i lowkey wanna make a comic abt them soon :>

based on this post i made, im kind of obsessed with the idea of Aziraphale pissing Crowley off on purpose so that he'll get all close to him because he tends to do that when he gets hissy

Originally posted by crayolanoms

just a little suspicious imo 👀

Oh my god.

When Crowley calls Aziraphale on the Bentley he is literally telling him:

you go too slow for me

How did I miss that.

The thing about "you go too fast for me" is that it is unmistakably a love confession.

We all knew it. I don't know anyone who watched that scene without being pierced right through by it. But it's a confession and a refusal all at once. It's, "I love you, but we shouldn't." It's, "I love you, but we can't." The double blow is what makes it hit so hard. The revelation and the rejection happen all at once, inextricably tied up in each other, and you walk away remembering above everything else that Aziraphale said no.

But after season two, this scene is coming back to haunt me. What's finally hitting me in a way it never has before is that Aziraphale wanted to say yes. He told Crowley that he wanted to say yes. The "we can't" came through so painfully clearly, but the other half of the sentence was what he spent most of the scene trying to say. "I need you safe" and "maybe one day" and "if only."

It wasn't supposed to be, "I love you, but it doesn't matter. We can't." That was never how it sounded in his heart. The way he meant it, the thing he wanted Crowley to understand, was "We can't, but it doesn't matter. I love you."

This this this. And it's worth noting, I think, that even the fact this is in Soho in the year 1967, the year Parliament decriminalized homosexual acts in England and Wales, is trying to put this scene in this context for us. They could have picked any year but they picked one where all around Aziraphale people who look like him and Crowley were finally starting to be able to exist in public spaces without fear of legal retribution. It would've been on the forefront of his mind, especially living where he does. And that's important. It's important to know that he saw that and thought of Crowley and decided to say, the only way he could, that yes I do want that for us. Even if we can't I see this and think of us.