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#elspeth – @sarahthecoat on Tumblr
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SarahTheCoat

@sarahthecoat

mostly Sherlock. The New Semester my dreamwidth
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The Night That Changed an Angel (or, why does Aziraphale still wear that shabby vest?)

Mini-Meta Musing (#4)

I've been brooding for a long time about, of all things, Aziraphale's worn velvet vest and the long cream jacket he's kept in "tip top condition for over 180 years now." I love the sweet familiarity, but this is the same angel who popped across the Channel and almost lost his fluffy-topped head in 1793 for dressing like an aristocrat.

"I have standards!"

He's the height of elegance, extravagance even. A dandy. We've seen the same at the Globe Theater 1601, Edinburgh 1827, and even as a Knight of the Round Table in 527 Essex, where he's wearing a glorious pelt across his shoulders! However, sometime after Edinburgh 1827, Aziraphale's stylish extravagance ends. He adopts the dress of distinguished but modest gentility. No seamstresses strain their eyes for days hand stitching ruffles and trims for him any longer. When we next see him in 1862, his clothing is refined, simple, and serviceable. It becomes his uniform, with only minor replacements. Why? What happened to change him?

Edinburgh 1827 happened. And his encounter with tragedy ran over his sensibilities like a locomotive.

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nofomogirl

We need to talk about body snatching

I'm not a massive fan of the 1827 minisode - if you're curious why it bothers me, I've explained it in my post about two GO canons - but there's no denying it does an amazing job at exploring the complexity of morality and moral choices. It starts with a very black-and-white two-dimensional image and gradually adds shading and perspective, making it harder and harder to judge as we go along.

I think it's worth digging into (pun not intended but I'll take it).

Layer 1: body snatching bad

We learn someone did something

It's those first few seconds where we see a person robbing a grave, and since we know that robbing graves is a crime and generally not a good thing to do, we can quickly form a tentative conclusion that this is wrong.

Okay, in this exact instance, we immediately get enough context clues to see that this kind of judgment would be oversimplistic and superficial. Only Aziraphale, who for some reason acts as if it was his first day on Earth after a thorough memory wipe, is ready to condemn Elspeth based on just that.

Nevertheless, this is the first layer - the deed itself with no context.

Layer 2: body snatching acceptable

We learn about the person who did the thing

That's the whole journey with the first dug-up body where we get to know Elspeth and become privy to her circumstances - she's desperately poor, she has another person depending on her, she robs graves to survive. Aziraphale's suggestions that she might earn her living by selling books, weaving or farming just serve to prove how inaccessible more honest and dignified professions are to her. In turn, her comment about how she's not hurting anybody who isn't already dead hints that from the realistically available options, Elspeth could have chosen something much worse.

Technically this layer is a significant step up from layer 1 but it still isn't really challenging. Things are spelt out really loud for us, and most importantly everything we learn about Elspeth is just attenuating circumstances. To top it off both she and Wee Morag are immediately endearing. The takeaway is that sometimes things that in theory are bad can be excused which is important but the verdict still comes without any second thoughts.

Layer 3: body snatching complicated

We learn the larger context around the thing

This mostly happens when Aziraphale and Crowley discuss body snatching with Mr Dalrymple. We learn that the stolen corpses are used for a medical study that can advance human knowledge and make it possible to save living people and that surgeons have no legal means to obtain enough of them for their research - hence their need to buy them from body snatchers.

At first glance it's just more of what we got in layer 2 - more agruments in favour of body snatching that aren't all that nuanced and don't really give us any pause - just from a larger perspective, beyond Elspeth's individual experience. But if you glance more than once you'll notice this is when things stop being straightforward and easy to judge.

The moment we enter a proper grey area is when Aziraphale asks why Mr Dalrymple doesn't acquire the bodies himself. This is a very valid question - while we might easily agree that studying the human body to further medical knowledge is a good thing, and with just the slightest hesitation admit that it's acceptable to resort to using stolen bodies if that is the only way the research may continue, it's not as easy to excuse taking advantage of the poor and the desperate to do the actual stealing that we know is very dangerous.

The moment we know without a doubt we are in a proper grey area is when Mr Dalrymple laughs at Aziraphale's concern.

Objectively, the surgeon is right that it's more effective if he doesn't risk his own life in the graveyard and uses his time on actual research, teaching students and saving lives. But it's also clear he doesn't exactly see people like Elspeth as actual human beings and feels he has every right to use them. On the one hand, he is paying, on the other, he happily benefits from the cruel class system and is not even one bit remorseful about it. On the one hand, he takes risks too, on the other he has a chance of rewards Elspeth will not benefit from. It's not the poorest whose lives will get bettered by the progress of medicine, even though they're the ones who pay with their lives for that progress. And if Mr Dalrymple gets lucky and is knighted for his work (we know he wasn't in the end but it was a possibility), the poor still won't be pardoned for stealing for him. Nevertheless, he has no issue with that.

As I said, things get nuanced.

Layer 4: it's different when it's someone you know

The thing actually happens in your life

I think you'll all agree that the turning point of the minisode is when Elspeth decides to sell Wee Morag's still warm body. This is what finally leaves us speechless.

That's because up until now we've been approaching the issue intellectually. It's not that we didn't care about the characters, but we were allowed to keep a safe distance. The whole thing was like a problem to be solved - "Is body snatching right or wrong? Discuss in 500-1000 words" - and everything we've learned so far was data for this assignment. I believe that one of the reasons why this detachment came naturally was that there was a very thick line between people involved in body snatching and the bodies that were being snatched. The former were, well, people, obviously. The latter were inanimate objects.

It isn't until Wee Morag is to be sold that we are forced to see a person in a dead body. This is also when real emotions enter the equation.

This shift forces us to question our judgment for the first time. It was easy to justify Elspeth when she was selling a nameless corpse. But the fact that she decided to sell her closest companion - and most likely lover - shocks us. Something inside us strongly objects to how quickly she makes the decision.

And then there's the transaction, and it is also different when it's someone we know. The fact that we knew Wee Morag fully exposes Mr Dalrymple for the heartless jerk that he is. The way he treats Elspeth is the absolute worst and if you haven't realized he was a hypocrite earlier, you should be disillusioned by now.

But at least Elspeth is not a hypocrite, right? It may seem cold that she sold Wee Morag but it just proves she simply believed it's all right to sell a dead body, doesn't it?

Well, about that...

Layer 5: it's different when it's you

You are forced to face the thing happening to you

This layer is reached when Elspeth plans her suicide and asks Aziraphale and Crowley to bury her "somewhere where no ghouls will ever dig her back up again".

It turns out Elspeth McKinnon really was a filthy liar.

Not long ago she was insisting that body snatching doesn't hurt anyone who isn't already dead, and asking why she should let Wee Morag rot in the ground when she starves. But she wants to make sure it doesn't happen to her own body. The idea that someone might dig her up terrifies her and she calls people who do it ghouls. So why was digging up other people okay again? Why should she rot in the ground while other people suffer? There were other people living in the street where she and Wee Morag hid. Why not ask Aziraphale to give the money to them? Or just anybody in need? Why not ask to sell her body as well and use the earnings the same way?

Also, if you look at it from a certain perspective, Elspeth betrayed Wee Morag in the worst possible way. Wee Morag believed that if someone's body gets cut, that person's soul cannot enter Heaven. Yet Elspeth sold her to Mr Dalrymple, claiming that Wee Morag would have wanted her to have the means to survive. Perhaps she was right. Perhaps Wee Morag would have made that sacrifice. But then Elspeth decided to kill herself and use the money she got for Wee Morag's body for her own funeral.

But does it make Elspeth wicked? Certainly not. She's simply torn by grief. I seriously doubt she's been planning to commit suicide when she was taking Wee Morag to Mr Dalrymple. She might have genuinely tried to carry on but the reality of what happened caught up to her. Mr Dalrymple's cruel words certainly didn't help her cope with a personal tragedy. I even suspect one of the reasons she sold her friend was that she had no idea what else to do with a dead body.

Does this excuse her actions? Kind of, but not really.

Elspeth was a tragic character, not an innocent lamb with a heart of gold.

The point is - can any of us really judge her?

Which, coincidentally, is a question that the original Good Omens book toyed with quite a lot.

If you've reached this far, thank you for reading!

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reblogged

Minisode connections?

  1. I think Maggie is a Mason. She wears a Masonic symbol on her necklace, and I suspect that's why she's sending records to a pub in Scotland -- connections to the lodge next door.
  2. I think the Masons must have carved the Gabriel statue, probably from life. That's why they're called Masons, right? -- the first lodge was formed by members of the stone masonry guild in the middle ages.
  3. Someone on Facebook mentioned she thought Elspeth didn't buy a farm. How difficult would such a thing be for an urban woman in that day and age? Instead she bought a pub. Which in later years got a jukebox.
  4. One of the Mason sects that women are allowed to join are the Daughters of Job.

I don't know where all this leads, but I think there's a trail of breadcrumbs here.

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The Altar of Eccles Cakes

(updated 21 Oct 2023, for Grain Offerings example) (updated 21 Nov 2023, for link to First Temptation)

The mysterious plate of Eccles cakes. Are they really to "calm people down?' And why do they just ...disappear? They must be there for a reason?

Yes, they certainly are. They are just the first course of a fascinating meal on offer in S2.

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Too late.

One of the scenes that struck me the most and which I don't think is talked about enough is the death of Wee Morag. Aziraphale has spent the entire minisode struggling with his morality, torn between what it should be right according to Heaven and what is truly right. This is a moment of heavy suffering: a young woman is at the end of her life and Aziraphale feels guilty for interfering with the bodysnatching thing. His black and white mentality somehow set in motion a chain of events that led to this tragedy. And now he would like to fix it.

«I am going to save her. I know it's not technically allowed, but... This... this is all my fault. And I really can't bear it. If that young woman... I could heal her.»

I love when Crowley calls Aziraphale “Angel", but in this moment, when he sees him truly distressed, Crowley just says Aziraphale in the softest voice.

It's a “blink and you’ll miss it” moment, it's not even in the subtitles. I don't even know why it affects me so much, but to me Crowley's love for Aziraphale is so obvious in this moment that it hurts.

And it becomes more painful, because when Aziraphale says…

«No, no, no. It's the right thing to do. I will brook no argu... What are you...?»

… Crowley’s answer is…

«Too late.»

Some things can’t be fixed.

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reblogged

This is a completely bonkers meta post

What if the people who live and work on Whickber Street are the souls of those that Aziraphale and Crowley have met in their past? Nina and Maggie as Wee Morag and Elspeth? Mutt by the magician who died in 1941 because he was eaten by zombies. Did he leave someone behind?

Maggie: And you're quite right. It's not your job to sort out my doomed love life.

Except Aziraphale wants to make it happen because his actions in 1827 got Wee Morag killed. Maggie has a shop attached to Aziraphale's shop (he's the one who suggested Elspeth open a bookshop, but he owns a bookshop and needs someone to keep track of his records).

Nina owns a coffee shop. It is always busy and it's blue and green, just like the planet. Give Me Coffee or Give Me Death. Nina is in a terrible relationship though, with this mysterious Lindsey, finally manages to break free, and then all Hell breaks loose.

Maggie notices Nina. She falls in love with Nina. She finally finds the courage to introduce herself to Nina, gets alone time with Nina, only to find out Nina's in a relationship with an asshole.

What if they have the souls of Elspeth and Wee Morag? What if Maggie is Elspeth and this Ball he is throwing for Nina and Maggie is him trying to reunite the souls of Wee Morag and Elspeth? And also using that as an excuse to dance with Crowley.

What if Aziraphale and Crowley turned Whickber Street into a home for lost souls looking for a place to be happy?

It would make sense that Jim is drawn there because he is now a lost soul.

But Crowley lives on the outskirts because he's trying to guard the life he and Aziraphale carved out together. He isn't going to move into the bookshop because he is always on the lookout while Aziraphale handles things on Whickber Street. I think Aziraphale already believes that Crowley lives at the bookshop though because he gets plenty of use out of it too. He just doesn't sleep there. Or else he's telling Crowley that the bookshop is his home too and he would love for him to move in.

So at the end, Crowley has realized he's ready to live with Aziraphale, but Aziraphale is now the one who is moving out and watching the perimeter. The fight in the bookshop made him realize the danger was much worse than he initially thought. Demons didn't just invade the bookshop, they invaded the safe space that Aziraphale and Crowley had carved out for themselves and the shopkeepers of Whickber Street.

Aziraphale changed the shopkeepers and their families into clothes fit for a ball and had them dancing together while ensuring their protection from the outside. Maggie and Nina were the ones who stepped up to help him so he wouldn't have to fight alone. Nina stays because Maggie stays. Maggie stays because she cares about Aziraphale, and Aziraphale has been nothing but kind to her. They help him defend the formerly Naked Man Friend, Jim.

Maybe Whickber Street is the home of second chances.

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sarahthecoat

what an interesting thought, this would make a lovely fic!

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It’s time to talk about the Laudanum Lesbians, Elspeth and Wee Morag. Right away, it’s pretty obvious that you’re supposed to draw parallels between them and Aziraphale and Crowley. When the viewer first meets Elspeth, we get this gruff girl who threatens the two of them and is established to be doing something “morally wrong”. Life hasn’t been kind to her, and she clearly doesn’t trust people. To really drive it home, she and Crowley are on the exact same page while they’re talking to Aziraphale and wheeling the body to the alley. 

Then we meet Wee Morag, and it becomes apparent that every decision that Elspeth makes is to better their life together. She offers Wee Morag food (which is something our favorite demon is wont to do for his partner) and specifically oversells it as something fancier than it actually is. Wee Morag calls her an angel. It’s meant to be a little tongue and cheek since it’s in the presence of a literal angel, but it also serves as a way to show that while Elspeth may not be a Good person, that she at least cares about the person close to her.

Now for Wee Morag at this moment, we don’t get much from her aside from her obviously being the moral compass out of the two of them. She tells Elspeth that she's going to Hell literally two seconds after referring to her as an angel. The more important part of this interaction I would argue is Aziraphale’s response to Wee Morag. Some part of him recognizes a kindred spirit in her. He takes off his hat in a show of sincerity and says that it was lovely to meet her. This is important for later in the episode.

After they fail to sell the body, all three of them end up back in the alley with Wee Morag. Elspeth is again choosing to not trust Aziraphale despite his change of heart to do what he now knows is actually a good thing. Wee Morag starts off on the fence, worried about those souls that won’t get into Heaven. Elspeth tells her that she promised to help, and through everyone’s various methods of convincing (tempting may even be the better word as there is a demon sitting next to her when she agrees), Wee Morag says that she’ll do it because that’s what friends do. Regardless, she’s now had her change of heart. Although I would say hers is more driven by the same thing that drives Aziraphale to help with the Antichrist. It is fundamentally for her and Elspeth’s benefit, not the Greater Good per say, but she needs that reframing of doing the moral thing of upholding her promises and potentially helping people.

In the graveyard, Elspeth does all of the hardwork and Wee Morag holds the light both to assist how Elspeth sees, but also likely to help her keep watch. She’s filling a guardian role for Elspeth. Later when Elspeth sells her body, she even says “She only wanted to look after me.” Upon seeing the actual body (a priest’s body no less), Wee Morag realizes with horror what they’re doing - the potential moral ramifications stare her in the face. She ends up caught in the crossfire of a gun, and she dies for it.

Originally, I thought that Wee Morag’s death sets Crowley up to worry about what might potentially happen to Aziraphale in the future. In a way, I still think it does. She was the Good character helping the Bad character, and she pays dearly for it. His line “It’s a bit different when it’s someone you know, isn’t it?” while pointed at Aziraphale can be felt by everyone in the room. Elspeth has been dealing with death this whole episode, but her whole life is turned on its head when her ‘pal’ dies. Crowley recognizes that it’s the knowing part that actually causes something to hurt. (It’s one of the reasons why he doesn’t have many human friends. He does have a friend though, and it would absolutely gut him to lose him.)

The episode isn’t over though. We still have to watch someone else pay for stepping over the imaginary boundary of Good and Evil, except rather than it being Aziraphale, it’s Crowley. Like Wee Morag, he steps out of his usual role and helps Elspeth, and for that, he pays dearly. He gets dragged off to Hell to have whatever Demons do instead of a rude note done to him. After everything that’s happened, it’s no wonder why you get that panicked shout of “Crowley” from Aziraphale. They just watched the worst case scenario happen for people like them. 

Also as another quick fun aside, both sets of characters are bound by something that allows them to not be able to carry out their actual dreams and goals. Elspeth and Wee Morag were bound by poverty while Aziraphale and Crowley are bound by their respective Head Offices.

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reblogged

Good Omens season 2 star Abigail Lawrie has revealed more about her experience working on the hit Neil Gaiman drama, adding to the already feverish anticipation for the upcoming episodes.

The show features David Tennant's demonic Crowley and Michael Sheen's angelic Aziraphale, an odd couple brought together by their mutual ambition to prevent armageddon.

Based on the novel by Gaiman and the late Terry Pratchett, the series was a runaway hit, with fans demanding it continue – a campaign that Prime Video eventually conceded to.

Lawrie will make her Good Omens debut in the second season, reportedly playing a Victorian gravedigger named Elspeth, and told RadioTimes.com she "absolutely loved" the job.

"It was such a mad, amazing experience," said Lawrie. "We shot it in Scotland and I got to work with Michael Sheen and David Tennant, obviously, who were just amazing and so lovely and so funny. A lot of the stuff that I did was funny."

She continued: "And Douglas [Mackinnon], who directs it... is just the most intelligent, fascinating man and he knows that universe so well, inside out. And so it was just amazing to work with him."

The actor currently stars in Paramount Plus tropical thriller No Escape, where she plays Lana, a young woman on the run halfway across the world with her best friend, Kitty (The Outlaws' Rhianne Barreto).

Lawrie added: "And the costumes were incredible. The sets were just vast and amazing. It was really like being immersed in a completely different universe. It was really cool."

Her involvement in Good Omens season 2 was confirmed by Gaiman himself on Twitter, in a post congratulating her for winning at the BAFTA Scotland 2021 ceremony for her role in Sky's Tin Star: Liverpool.

Alongside Tennant and Sheen, Good Omens season 2 also sees the return of Jon Hamm, Maggie Service, Nina Sosanya and Liz Carr among others, whilst Peter Davison, Andi Osho and Ty Tennant are just some of the new additions.

Abigail Lawrie plays a gravedigger Elspeth! :) ❤

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reblogged

You can be seen this summer in the new series of Good Omens alongside David Tennant and Michael Sheen - who do you play in the show and what appealed to you about the role? 

I play Elspeth  - a grave digger living on the streets in Victorian Edinburgh who digs up bodies for a local doctor to earn extra money. The role was so far from anything I’d played before! The show is wonderful and weird and funny so that’s what appealed to me most. And Douglas McKinnon who directed it was brilliant, he knows that universe inside out and has such a clear vision so working with him was fascinating.

What was your experience like working with two titans of the industry such as David Tennant and Michael Sheen? 

I was terrified! But they were both so lovely and it was amazing to watch them work. And they’re so funny in the show, there were a few takes where I completely lost it and couldn’t stop laughing.

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