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AlmightyRawks

@almightyrawks / almightyrawks.tumblr.com

Presently: Good Omens. Past: everything about Colin Morgan
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noneorother

The puns are never ending : Aziraphale's miraculous "visable" bullet.

Aside from this closeup diagram of how to perform the bullet catch being objectively hilarious, it's also got a pretty fascinating *spelling mistake*.

If you look closely at the part of the pamphlet in red, you'll see that the bullet should be hidden in the mouth where it won't be visable. Not "not visible". Not visable. Seems innocuous enough right? But of course, the layers are never ending.

"Visable" is actually a Middle English word, *not* a modern English one. The last time it was used was before the printing press was invented, so pretty old. Here's a little background :

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Becoming Real

Recently Good Omens Prime Twitter account posted a BTS photo of Aziraphale and Furfur and it started the gears in my head turning, trying to parse it. It's only just now that it finally coalesced into a proper thought.

I kept thinking Aziraphale reminded me of something, especially when compared to the other angels. Look at him next to pre-Jim Gabriel, Uriel, Michael... heck, even Furfur, who he's standing next to right now.

Furfur is a demon, but his outfit is impeccable, it's sleek and stylish. The angel's suits in heaven are all pressed and flawless and New.

But not Aziraphale. He's dressed in old human clothes, his waistcoat is worn and tattered and long-loved. Aziraphale is, as Michael put it, like an old sofa. Worn and comfortable. He could choose to look basically however he wants, but instead he chooses to clothe himself in actual human clothes, to eat human food, to enjoy human entertainment - books, music, plays, etc. He does this despite the fact that it actively makes the other angels dislike him and find him unpalatable.

And that's what stuck out to me. Because unlike those other angels and demons, Aziraphale doesn't feel distant from humanity. He might be odd or eccentric to humans, but they don't question his humanity. He doesn't stand out to them in the way that the other angels do when they show up.

It occurred to me that this is because unlike the other angels... Aziraphale is Real.

Have you ever read The Velveteen Rabbit? There's a scene in it where they talk about what it means to be Real:

This made me think of Aziraphale. About how the other angels are these pristine things, kept aloof from the world, and then there's Aziraphale, who is worn and shabby, who's lived on earth for millennia among the humans. He's loved and learned and experienced what being human is like and because of that he's Real in a way that the other angels aren't. Humans have personhood, a sense of agency, a sense of self. Angels and demons have only the divine plan, as Beelzebub and Gabriel noted, that's all they live for "if you can call it living".

But what strikes me the most is how potentially devastating Aziraphale's Realness will be to Heaven. They only succeed at keeping angels in line because they're undistracted from the Great Plan. We see how Gabriel - as Jim - takes to cocoa after trying it. We see how quickly Muriel becomes fascinated with books.

Now consider that this is the angel they're putting in charge of Heaven. This worn, shabby, old sofa of an angel who has an endless well of love, for Crowley, for the world and the humans in it. He doesn't seem dangerous in the slightest. He seems Fragile.

But he is dangerous. So very dangerous.

But it's not because he's a guardian, not because he's a warrior, not because he's the Angel of the Eastern Gate who leads a battalion and was issued a flaming sword. He gave all of that away and it's worth noting that this is the first actual choice we see him make in the show, the thing that sets him apart in Crowley's eyes, and it wasn't even Crowley's doing! Aziraphale made a choice to give the mortals his sword out of compassion and it is a sense of compassion we don't see from the other angels.

His deviations all stem from that initial act. It takes him from being this two-dimensional cardboard entity existing only as part of the Divine Plan and set him on the path to actual Personhood.

It doesn't happen right away, of course, because as the Skin Horse says:

"It doesn't happen all at once. You become. It takes a long time. That's why it doesn't happen often to people who break easily, or have sharp edges, or who have to be carefully kept. Generally by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But those things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand."

And doesn't that sum up Aziraphale? He's shabby and worn and he's beautiful to the people who understand and appreciate that being Real means being imperfect, and that every imperfection is still beautiful.

No wonder the angels mock his corporation, his flaws, all the things he enjoys that make him less than what they think he should be. We see evidence over and over that Aziraphale is essentially "ugly" to them. But that's because they don't understand.

Aziraphale's Realness, his personhood, what Crowley has helped nurture from the Wall of Eden all the way to that last desperate kiss, is what really matters. Good Omens has always been about People being fundamentally People. It's the underlying current that ties everything together, for good or for ill. People have agency. People have self-actualization. People have the ability to make their own choices, for good or for evil.

And now Aziraphale has that too.

That's the very real danger he presents to heaven.

Because we've already seen that any angel, given sufficient time and interaction with humans could be like Aziraphale. All it takes is one small opening, one bite from the apple. Whether deliberately or not, Crowley tempted Aziraphale into every step, the way he tempted Eve in the garden. He gave Aziraphale the knowledge of Right and Wrong, presented him with the option, the way he did with humanity. Were they even really human before Crowley? Did he give them free will? His actions cast them out of paradise, but did it ultimately set them free? Has he struggled for millennia to do the same for the angel he's loved so well and for so long?

Does Crowley know how horribly, wonderfully well he succeeded?

Bringing Aziraphale back to Heaven, putting him in charge, was the absolute worst thing the Metatron could have done for keeping the status quo and it's not because of Aziraphale's fighting prowess. It's because of the small Human acts of kindness and pettiness that Aziraphale is capable of. That's not going to go away when he's in Heaven. It's going to spread. He's going to infect Heaven with Humanity. It's going to be so slow and gradual that they won't see it coming until it's far too late.

It's not going to be the way that Aziraphale intends to change Heaven and yet, it will surely ultimately be what really makes a difference.

I wonder too, if maybe that's some subconscious part of it. After seeing Gabriel change, seeing Muriel change, I wonder if there's not some part of Aziraphale that realizes that Heaven is a miserable place that makes miserable people. He'll extend compassion to them that they don't deserve and don't know they're missing and he'll surely go on with whatever his own Plan - with a capital P, of course - is and he won't even realize what he's actually done.

And then, like the ending of S1, like the ending of S2, the ultimate deciding factor will not be who is the best warrior, who is the strongest. It will be about the Human element.

Metatron thought he could control Aziraphale, bring him in line by bringing him back to Heaven. He wants to take away the human element of Aziraphale and shove him back into that Obedient Little Angel shaped mold and he doesn't realize it's not possible anymore. Aziraphale's grown. He'll never fit, he'll never be that again. There is no going back anymore.

As the Skin Horse says: "Once you are Real, you can't become unreal again. It lasts for always."

And Real things, things with depth and purpose and will, are impossible to ever truly control.

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cammelia

Colin Morgan news

Olivier Awards winners to be revealed on 25 October 2020, with 2021 Awards cancelled

There will be a special digital ceremony on ITV and Magic FM

This year's Olivier Awards will be presented in a special ceremony on 25 October.

The winners will be unveiled in a special digital broadcast hosted by Jason Manford, presented on ITV and Magic FM. It will be filmed in different areas of The London Palladium, featuring "unique performances and interviews" filmed next month.

The main show will be broadcast on ITV with a special pre-show broadcast on Official London Theatre's YouTube channel showing winners from categories not being presented on air.

The organisation has also revealed that the 2021 Awards are unlikely to go ahead, given the ongoing pandemic and absence of nominees. It has also committed to investigate the set-up of the awards and "ensure all aspects of diversity and inclusion are considered", with results expected next spring.

Julian Bird, chief executive of Society of London Theatre and executive producer of the Olivier Awards, said: "We are excited to be able to honour this year's nominees and winners during a very difficult time for our industry, and demonstrate the outstanding talent we have in our theatre sector in the UK. Coming together to celebrate their achievements feels more poignant now than ever before as we all fight collectively to save our theatre industry. I hope that everyone working in, or simply missing the theatre, will join us on the 25 October to celebrate last year's achievements and remain hopeful for our future".

Source: 28 September 2020, whatsonstage.com

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rocknvaughn

New Colin Morgan Interview from the Sunday London Times 23 February 2020 (Typed out for those who need to translate)

Colin Morgan interview: the star of TV’s Merlin on why theatre is still his greatest love

The Northern Irish actor likes to avoid the obvious. He’s a perfect choice for Caryl Churchill’s disturbing two-hander A Number

Colin Morgan strolls out of rehearsal at the Mountview drama school, south London, with a smile on his face and a woollen cap pulled down on his black curls. He’s 34, but doesn’t look much older than the students rushing to lunch around him. Yet in the packed years since he left college — to take a leading role at the Young Vic — he has established himself as one of the best and most original actors around.

Whether on stage in acclaimed productions of Brian Friel’s Translations at the National and Arthur Miller’s All My Sons at the Old Vic, or on television in The Fall and Humans, he has a knack for finding a different aspect to a character, refocusing them in often revelatory lights. “I suppose I am interested in characters who are misfits,” he says with a grin, in his rolling Northern Irish accent. “Characters who may on the surface appear to be part of society, but actually internally, in their world, don’t feel like they are.”

He is starring opposite Roger Allam at the Bridge Theatre in Caryl Churchill’s elusive, disturbing A Number, about a father and his cloned sons. It’s a characteristically bold choice for someone whose instinct has always been to avoid the obvious. “The road I like to walk down is the one where you can’t see round the corners,” he says.

Given that, it’s a fascinating irony that Morgan is still best recognised for the role that launched him to fame: the titular Merlin in the BBC TV series, for four years from 2008. A rethinking of the Arthurian legends that put the young wizard at its centre, it started off as a children’s favourite and became something more. “It turned into a main-slot drama on Saturday night, which I hadn’t really anticipated.” He took the part because of his love of a challenge. “All I saw was the opportunity to do something that was on me, on my shoulders,” he says, with that disarmingly gentle smile. “I had only done one bit of filming, for an episode of Doctor Who, before then. It was an amazing experience.”

It did, nevertheless, change his life, making him recognised in ways that were not always easy. “You meet people who have grown up with it. You realise that you have been part of their life. Sometimes it’s hard to take that on board, because each individual has a different experience with something that essentially is not who you are. I must pale in comparison.”

Morgan is engaging company. He isn’t exactly reserved, but he does seem very private, making absolutely no comments about his domestic life, and quite shy. He stays completely away from social media — “I think if I had some platform it would be just part of my need. I have no attachment to technology, it’s not my go-to thing” — which means he is insulated to some extent from the frenzy his appearances provoke among his legions of fans. He hasn’t, for example, read any of the feverish excitement surrounding his brief appearance as a “hot journalist” in an episode of The Crown. “I know what people tell me. Which is bizarre, because it was just a few scenes in one episode of a show I was a fan of. I had that experience and I loved it. What happens afterwards is not in your control. It’s just mad.”

Looking back on the early days, when Merlin took off, he is thoughtful. “You are not really equipped to deal with these things. I was used to going into the theatre each day, doing the show and going home. I still feel like that’s my job. Then you realise that when you do other things, you have to be there for the promotion. That was the big adjustment. I don’t enjoy it.”

There is nothing in Morgan’s background in Armagh, Northern Ireland, to suggest a glittering career as an actor. But from a young age, performing with local drama groups, he knew it was what he wanted to do. “I was just fascinated by everything in school productions, watching things, being fascinated by what was behind the sets. The idea of this mysterious world behind what you could see.

“To this day, I get that childlike curiosity and excitement about being backstage — before you step on stage and everything changes. You are on your own, completely, then in a second you are in the company of hundreds. It’s an amazing transition.” He adds pensively: “I feel more comfortable on stage than I do off. That’s the weird thing.”

Morgan’s talent and determination took him to drama school in Glasgow; in his final year, he met Rufus Norris, then associate director of the Young Vic, who cast him in Vernon God Little. He was off and running in an unbroken line of work that has taken in film — he recently starred opposite Rupert Everett in The Happy Prince — TV and the stage. “I want to do that juggling act my whole life if I can. I never want to be just the one thing.”

Yet theatre holds his heart. “I will never, ever not do theatre,” he says firmly. His pleasure at rehearsing A Number under the direction of Polly Findlay is obvious. “What’s great in the room is that there is a combination of fun and seriousness. I’ve never done a two-hander before. It’s a different ball game — thankfully a good game, this one.” Predictably, it was “the impossibility of it” that attracted him to the part. “I had so many questions.” Normally, he prepares by trying to put himself in the environment of a play: for Translations, he took a trip to Donegal, where the drama is set. “Just to breathe that kind of air up there and bring that back over to London with you.”

For A Number, it’s different. “A lot of time was spent with the script as a catalyst for the imagination.” Churchill herself has been in rehearsals — but, like her plays, she doesn’t provide any easy answers. “You might ask her something specific, and she will literally say it could be that. Or it could be that. She is fantastic and liberating.” He looks cheerful. “You mustn’t put any of your inhibitions in the way. You just have to be incredibly open and disciplined to what’s there.” He might be talking about his entire career.

A Number, Bridge Theatre, London SE1, until March 14

Link here: (Behind Paywall)

‘he says, with that disarmingly gentle smile.’

STOP PLS 

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cammelia

Three previously unreleased press photos of Colin Morgan and Roger Allam in A Number

Thanks for Twitter source @NewsColinMorgan who posted:

For those of you who are already mourning the end of #ColinMorgan and @All_Allam's play #ANumber, here's a little gift for you.

📸by Johan Persson

(note the photo of "Bernard 2" on the mantelpiece!)

And another one directly from Johan Persson web.

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cammelia

Colin Morgan came to the stage door!

Still can’t believe it! What a magical day, 20th February 2020!

After yesterday's matinee I tried to go to the stage door. I wasn’t in any hurry as I didn’t believe neither Colin Morgan nor Roger Allam would come. There were only a few people waiting. I was about 20 metres away when I saw Colin coming out of the door. I started to run, like a fool, but who cares? Colin looked like he was going to give two autographs and immediately return back to the theatre.

My hands were shaking. I was babbling, forgetting all my knowledge of English, looking for a pen in my bag. I was so ashamed - face to face with him, totally clumsy and unable to breathe at all.

I expected that he'd leave and wouldn't waste time with such a clumsy idiot ..... and Colin waited patiently for me to find the pen. He was so kind, relaxed, smiling, even found the right page with his picture in the program and then signed it. Colin does not behave like a megastar. He is extremely friendly and human. He deserves all our praises.

I’m the happiest person in the world today. I have his autograph, a personal photo of me with him and I had an opportunity to talk to him. It was incredible.

I received a great gift, and I want to share the joy with you, the shared joy is always greater. So, dear fans, enjoy his absolute beauty, and kindness in his eyes. Usually I make better photos, but my shaking hands refused to cooperate :-)

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vickytokio

WHY DON'T I LIVE IN THE FUCKING UK?!?

I swear to God, I'd go watch every single one of his plays x.x

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thegreymoon

No love for theatre in general, but I think that if I was closer and not so damn poor, I would go and see each one of his plays too, for no other reason but to watch him! 😭 

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iamcaledonia

I live in the UK but have no money to travel to London. I think this would be fabulous. 😭

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