Noooooooo Aziraphale Don't Turn Around You Won't Survive The Cunt This Diva Is Serving

I used to think that the reason I wasn't satisfied with Izzy's death was because I was too attached to his perspective as a character and couldn't focus on the big picture of the season and the main Gentlebeard relationship enough. I mean, I was still convinced that his death and the way it was carried out was a shit writing decision, but everyone else outside the Izzy Canyon circles seemed fine with it, so I was starting to think that maybe they were right.

So I looked back on the rest of the season and rewatched the finale... And realised something that I'd been trying to ignore because it was too painful to admit. A huge part of why Izzy's death hit so hard (in a bad way, not that delicious masochistic pain of having a beloved character die a good, narratively satisfying death) was because throughout this season he was the only character who actually had a satisfying arc and development. Practically no one else did. I didn't actually care for Gentlebeard this season, not the way I cared in S1. From episode 1 to 8 and a half, Izzy's arc was crafted with more care, kindness, subtlety and narrative weight than the main Gentlebeard arc which, in comparison, felt like a string of choppy beads badly tied together in an approximate shape of an arc, but collapsed as soon as you looked at it too closely.

Yes, we all know this season suffered for being 2 episodes too short, but I don't think that's all there is to it. This is starting to feel like GoT season 8 all over again. Would it have been better if it wasn't so rushed? Maybe. Or maybe it would have been even worse because this season just didn't seem to know what to do with itself or the characters. The themes and symbolism are all over the place and completely inconsistent. Ed and Stede's characters are practically back at the same place they left in S1. All they did was bounce off the walls back and forth with no real growth. As soon as they took a step towards fixing their relationship or growing as people, they either tool three steps back or it just got dropped. Stede letting fame get to his head? Interesting and realistic development. And how was it resolved? It wasn't. Stede and Ed being whim prone? I'm glad they brought it up. And then they just fell for another whim and it was presented as a satisfying ending.

Ed went from the Kraken, to taking the first steps towards being Ed, then suddenly all the way to being Ed by way of a Night of Magical Healing Sex that he he didn't actually want to happen because he wasn't ready. And then all of a sudden he pivoted to abandoning Stede and piracy and becoming a fisherman... for 5 min. And then back to Blackbeard again because two fishermen were mean to him for 5 minutes. And then abandoning it again to open an inn. How was any of this even remotely coherent or satisfying? They didn't even have a single conversation about any of it. Ed had more proper closure and communication with Izzy during his dying scene than with Stede and the rest of the crew put together. Izzy's arc got sacrificed to do the heavy lifting for Ed's arc and became nothing more than a shortcut to speed run his character growth. Except it didn't even lead anywhere. "Ed, they're your family, they love you" no they don't, he didn't even have a single positive conversation with any of them except Fang. Of course this could have been the point, and Ed could have seen Izzy's death, his own discovery of found family and his dying words as a pretext to repair his relationship with the crew. But he just left them and stayed with Stede instead.

Sure, you could say this was only the second act of the story, and S3 will resolve everything. But the second act is still meant to move the story and the characters forward in some way. Yes, of course if we get S3, I imagine Stede and Ed's life as innkeepers won't exactly be idyllic. But the problem is that the conflicts they'd have will only be a rehash and repeat of the same conflicts they've already have, or were supposed to have, this season. Multiple times, even. We already know that Ed is simply unable to live with himself no matter what life he chooses. The title of S1 was literally "wherever you go, there you are". We already know Stede's love isn't enough to fix him. We already know their goals in life are completely opposite. Maybe they could have shown Stede realising, after his humiliating in S7, that piracy wasn't all it was cracked up to be or he isn't suited for it, and that's why he chose to leave it behind and open an inn, but that's not the explanation we were given. It was just another whim. They literally didn't learn anything this season. They had two baby conversations in E4 and E5 and didn't take anything from it, just kept doing the complete opposite of anything. "We're both prone to whims, let's take things slow" became "let's take things extremely fast by moving in together permanently and becoming entrepreneurs". They never talked about the actual, deepseated, longstanding trauma issues they needed to resolve before they could even begin to have a proper relationship. They literally got a heavy-handed glimpse in what their life would become if they just stuck together without addressing their own personal issues, and chose to do that very thing. It that's what S3 is going to address, then why were Anne and Mary part of this season instead of the next one?

I remember everyone saying they wanted Ed and Stede to reunite as quickly as possible in S2, and I get why. They have great chemistry together. The season is about them. But for it to work, spending more time apart is exactly what they needed. They needed to learn how to live with themselves and others, first. Romantic love alone can't fix you as a person. You have to fix yourself first. Community can help (as with Izzy's case), but you still have to put in the work. In retrospect, I'm glad that Izzy didn't get a love interest this season - because he wasn't ready yet, and had to learn how to have normal relationships and friendships with other people before attempting an intimate romantic relationship, lest he ended up falling head first unit another toxic mutually dependent relationship. That's what Stede and Ed should have tried too. Instead the show just ended up using Izzy's death as a quick surgical fix, robbing Ed of his agency and having to do the hard work repairing himself and his relationships with other people. There's a sad irony in getting exactly one character's arc just this, and then using it as a sacrificial lamb to patch over the main character's arc.

ignoring how emotionally devastating the episode was I love how once joel accepted he was a Dad again he went from reluctant father figure to full blown dad mode. did not hold back. found ellie’s favorite food and a board game for them to play. took her to the zoo (the giraffe feeding scene). asked her if she was ok in the most gentle way possible. told her stories about sarah. compared her to sarah bc they’re both his daughters. told ellie how proud he was of her / how much he cared for her. opened up. said “we’re going home”. murdered dozens of people for her. brought her on a hike. you know. normal dad stuff 

the sillies

seductive fallen angel x shy human?

Ooo this is a great dynamic. A is the fallen angel and B is the human. Let me know if you want more.

Seductive Fallen Angel x Shy Human Prompts

Prompts

B has had no luck with dating, so A claims that it’s their purpose to get B a partner and they teach B how to flirt.

Now that A is on earth, they’re partying and enjoying all of life’s luxuries. But wherever they go, they catch glimpses of B: reading at a bus stop, carrying a comically large plant in a tiny bag, mixing three different sugars into their coffee. A becomes enamoured with B and sets out to find who they are.

A lost all their angel abilities when they fell, but doesn’t have the heart to tell B that so they learn slight-of-hand magic tricks.

Oneliners

“Did it hurt when I fell from heaven?” “That’s . . . that’s not how that line works”

“I’m just trying to give you a taste of heaven”

“You’re always trying to get me to live large and seize the day, but have you ever tried slowing down and just savouring the moment?”

“When I fell, I lost my purpose. But since I found you, it’s like I found it again”

“Did . . . did you just call me ‘angel’? As like a pet name?”

Also see:

Angel x Demon prompts and oneliners

Goddess x Mortal prompts and oneliners

Person x Person masterlist

Prompts masterlist

to me in a modern au, falin and laios grow up in a tiny little country town, one of backwater areas where everyone knows everyone. their dads definitely the town preacher or something. half the food they eat is deer patties and rabbit stew from the game their dad caught. falin comes out to their parents for the first time when shes younger. their mom says she accepts her but openly complains about wanting grandkids one day and it makes falin sad but she doesnt comment on it. laios never once came out to their parents, but he and falin talked about it for hours after she came out and it opened up a little box that had been taped firmly shut in his brain. falin did not go to the hospital for falling and busting open her chin, which bothers laios to think about but falin only remembers how many popsicles their parents let her eat while she healed. falin and laios can both run on sharp gravel barefoot, from years of practice. falin used to feed stray cats and would hide them in their treehouse. do you understand my vision

DUMPING ALL MY ABANDONED GOOD OMEN WIPS BECAUSE I DONT HAVE TIME TO FINISH IT!!!!!!!!!!

KOKAY BYEE

Oh, it's you that I lie with As the atom bomb locks in Yes, it's you I welcome death with As the world, as the world caves in

Twenty-Fourth Day of Gift-Giving

Twenty-Four Touches

Softly getting hold of the other’s hand, afraid to make a mistake

A casual touch on the shoulder to acknowledge them

Foreheads pressed together, a silent way to say “I’m here”

A gentle hand holding the other’s neck while staring into their eyes

Whispering, lips almost touching the ear

A quick brush of hands, almost unnoticeable

Tracing the other’s lips with their finger

An arm sneaking around a waist, holding them close

Pressing their face into the other’s neck, hiding from the world

A hand in the other’s hair, not quite grabbing it

Sighing into the kiss, melting together at last

A swift kiss to the other’s cheek

Brushing away an unruly lock of hair

A firm handshake, professionally at first, but a second to long

Gently kissing the other’s knuckles

A tender hug, just staying together for a while

Hands rubbing together to warm them up

A firm hand grabbing the other’s elbow to guide them

Feeling for the other’s pules with their lips

A quick kiss on the crown of their hair

Sitting on the other’s lap, being hugged from behind

A slow dance, entangled with each other

Cold feet warming each other up under the blanket

A gentle kiss on the forehead, a sweet goodbye

24 Days of Gift-Giving

Hello I have a 🌶️🌶️ comic in the works & first few pages up on twt > link

Apologies if twt breaks the format

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.