He looked at Aziraphale with his glasses off, a show of vulnerability to the person he wanted to spend the rest of eternity with.

"You can't leave this bookshop" he whispered, hoping, for somebody's sake praying that he'd agree and realize the mistake he was making. He couldn't leave his vast collection of first and only additions

He couldn't leave his records or his personal affects. But most importantly he couldn't leave Crowley, who had been just as much a part of the bookshop since opening day as a demon could have been with an angel throughout the years. He couldn't leave the bookshop because that meant if he could so easily leave behind his most prized possession then there was nothing keeping him from abandoning his partner of 6000 years.

"Oh Crowley, nothing lasts forever"

And he was right, it was nothing, as he'd said before the beginning, 6000 years was nothing. Barely enough time for the stars to form much less warm up.

But more importantly it was that the demon was nothing to him, even after all they'd been through, he'd realized as he tilted his head back with tears in his eyes. A feeling of sadness, a feeling he'd only ever had once before in the midst of a burning bookshop.

Aziraphale was not miracled by the coffee you guys. He legit thinks he’s doing the right thing. That’s what makes it so sad.

He wants to go with Crowley but he can’t because the opportunity to fix everything is too important and how does Crowley not understand??? Why won’t he just COME WITH ME TO FIX EVERYTHING!???

Then Crowley kisses him and that just completely shatters him because he can’t go with him. In his eyes, he can’t pass up this chance no matter how much he doesn’t want to hurt Crowley. “I forgive you” for not coming to fix things with me. And Crowley knows the moment he says that he’s not going to change his mind and says “don’t bother”. Don’t bother forgiving me, don’t bother explaining why you won’t come with me. Just don’t bother. I’m done trying to convince you.

Perfectly in character. Horribly tragic. Poetic cinema.

Torn between duty and love. One chooses love, one chooses duty.

Classic.

We just need Nina to do the love thing with Maggie. I have a plan.

Good Omens 2 + Text Posts

this is the representation nepo babies deserve

nausicaa: dress symbolism

if you haven’t watched nausicaa of the valley of the winds I recommend you watch it!! its one of ghibli’s older films but a great one nonetheless.

In the beginning, Nausicaa is shown wearing a red dress, but the prophecy states that a figure in blue will save the people from the apocalypse. It is only after she saves a baby Ohm (insect creature) from dying that Nausicaa’s dress is soaked in its blue blood. Her dress becomes blue, like the stated prophecy— But why did the dress have to be blue? What does it mean? In order for Nausicaa to prevent the world from being consumed by the toxic jungle, she had to see and experience the suffering of the Ohms. The humans were the ones using the Ohms to cause more destruction, and in order for stability to be achieved, both humans and nature must share a connection: empathy and trust. Nausicaa, dyed in the Ohm’s blue blood represents their shared bond of trust, one that is gained through empathy. Also! When the Ohms are calm, their eyes are blue. The repeated coloring of blue starts to signify a sense of tranquility after the apocalypse is averted. Ghibli does an amazing job of using color to distinguish between different stages of their films and Nausicaa is a great example of this!

I have issues with the "one woman in a group of men" trope but I also have a huge weakness for "the one woman in a group of men is the leader and/or all the men rally around her because they love and respect her" trope.

Can we talk about how decidedly leftist a lot of Studio Ghibli movies are? About how Nausicaa, Princess Mononoke, and Castle in the Sky are confrontationally environmentalist in nature? How Castle in the Sky is anti-colonialist/anti-imperialist? How it says government is to be trusted even less than thieves? How Howl’s Moving Castle is blatantly antiwar? To the point that it stops caring about being an accurate adaptation of its source material altogether to go do its own thing? How their movies tend to focus on extremely brave, heroic, and tough young women that are more than a match for any man, at any age?

When we talk about Ghibli, we tend to rightly focus on their relation to children’s stories and fairy tales, their intense focus on showing different kinds of love (between families, between friends, and providing powerful examples of HEALTHY young romances that are based in mutual strength, mutual trust, and mutual growth without a lot of overt eroticism. Romances that show the depth of love without even needing a kiss), and about their power as coming-of-age stories and how they show both the wonder and fear of transitioning from a child to an adult. But it seems to me that, while mentioned, the antiwar, pro-environment, pro-feminist nature of their works gets largely glossed over.