Young (baby) David Tennant Photo Shoot - From 1998 (he’s 27)

the worst part about the ending of season 2 is that it's actually very well written. it makes perfect sense and it's a very realistic conflict which makes it hurt even more. but i do have hope because this conflict IS solvable. and also, there is absolutely no way neil is going to give aziraphale and crowley a bad ending.

thinking about Crowley and Aziraphale driving around, doing whatever, before everything went to shit in the end. Crowley's driving the Bentley, obviously, and the two of them have fallen into a comfortable silence that they're both used to after 6000 years together, especially the past few, since the stopped Apocalypse.

Crowley is driving like a maniac as per usual, blasting Queen and whatever else happens to have been in his car for less than two weeks. He glances sideways from beneath his glasses, a stolen glance that he allows himself towards his the angel, and he sees -

Aziraphale has fallen asleep.

Crowley is surprised. He hadn't even known that the angel did sleep. and then he remembers that night in his flat after the Apocalypse-that-wasn't, when, before they had made their plan to stop their own respective sides from getting to them (thanks, Agnes Nutter) they had passed out, spectacularly drunk, on Crowley's couch that had become soft just for the occasion, and the demon had awoken to the angel snoring, leaning over his leg. So, yes. Aziraphale slept.

Crowley contemplates this for about three seconds before letting out an extremely exaggerated, dramatic sigh and slowing down the car, stopping his inane swerving and speeding and dropping to just below the speed limit. And then some. And then some more.

He miracles any and all possible bumps in the road to be smoothed over, and muffles the outside noise through suddenly-tinted windows. He flicks the radio down, Freddie Mercury barely audible over Crowley's bated breaths and Aziraphale's small, huffing snores.

The Bentley recognizes the significance of its owner's actions, and it too works to quiet its own engine, smoothing out its drive and warming its insides to be the perfect temperature for a fussy angel.

Crowley glances at Aziraphale once more, and settles back into his driver's seat, fully prepared and ready to loop around, driving slowly with barely any music, if it means that his the overworked angel can have a well-deserved rest.

When Aziraphale wakes up later, he cracks open an eye to see Crowley, driving slowly and purposefully, mouthing the words to some barely-audible song of his (probably be-bop, Aziraphale thinks disapprovingly), his sunglasses having been placed in some compartment. His gorgeous yellow eyes are barely visible in the dim light of the car through the windows, even though it's still day out. Almost as if someone has miracled the windows to be purposefully dark, as to not disturb someone. A sleeping someone, perhaps. Perhaps that is the same reason why the Bentley is driving slow enough for it to be of a concern, and why the usually-deafening music is at an all-time low volume.

Aziraphale watches for a long moment - an extended stolen glance, of sorts - and then lets out an exaggerated yawn and stretches, blinking slowly, smiling at Crowley, who, at the sight of him, reddens, and immediately clocks up from going 30 miles per hour to 95, the music abruptly becoming blaring again, Queen's Good Old-Fashioned Lover Boy.

"Sleep well, angel?" He asks, slamming his sunglasses back over his nose, and Aziraphale smiles, rolling his eyes. Silly demon.

"It was quite undisturbed, yes." And then, more cheekily: "Thank you, my dear."

"Dunno what you're thankin' me for," says Crowley gruffly, and Aziraphale merely smiles wider before leaning back in his leather seat, watching the demon's gaze flicker over to him ever so often from behind his sunglasses - as if to check that his counterpart is still awake, and to check that he has no need to be as kind as he just was.

(might write an actual fic of this lmk if that’s something y’all would want to read!)

Favourite ship dynamic: no one truly knows what exactly is going on between the two characters, including the characters themselves. But whatever it is, it's written in the fabric of the universe.

After reading so much angst and real honest-to-goodness psychological drama, I revel in the warm, light and touching stories like these. There's a Russian expression "my kind of plantain/works like a plantain", which means that some fic or headcanon is good for soothing pain and heartache. And this is exactly MY kind of plantain. I love it. Incredibly so.

The most romantic moment that Aziraphale could have imagined, it’s raining and they’re absolutely soaked, but he has his arms around Crowley’s shoulders and he’s kissing him and Crowley is kissing back and oh it’s like straight from a book!

And when they pull away just an inch and Aziraphale has a dreamy look on his face and he notices Crowley’s happy smirk and he sighs.

“Alright you can say it.”

“Vavoom!”

Who else has seen One Specific Episode of Rab C Nesbitt?

DT talk throwback: my interview w/David Blair, director of Takin' Over The Asylum

Over half a decade ago now I was a writer for David Tennant News/DT Forum, one of the bigger unofficial fan sites of DT's at the time (now sadly defunct). During my time there, I got the chance in Jan 2016 to interview David Blair - most notably the director of Takin' Over The Asylum, though he worked with DT in three other shows - about those projects, and what he remembered about David. I didn't want this interview to sink into the depths of the Wayback Machine and I thought y'all might enjoy reading it, so here is that interview in its entirety:

David Blair, Director / Front Cover of BBC DVD for Takin' Over The Asylum (UK)

Hello Mr. Blair! From 1992-1996 you worked with David Tennant on four separate television shows:  Strathblair in 1992, The Brown Man in 1993, Takin' Over The Asylum in 1994 and A Mug's Game in 1996.   Were you at all involved in the casting process for Strathblair, the first project you worked with David on... If so what did you see in the young actor that won him the role?  And how did that translate into choosing him as Campbell Bain?

I was a Producer at the BBC before I started directing. David was a student at the Royal Scottish Academy of Music & Drama in Glasgow. He asked if he could meet me just to talk through procedure for TV, interviews, etc., as the college appeared more interested in theatre than camera. Indeed, frowned on the latter! He’d be about 18 then. I certainly knew from the outset that he ‘had something,’ and I gave him a few minor opportunities as soon as I embarked on my directing career. To be clear, I only work with actors I want and believe in – still do. Some might say my own career has been stifled by this obduracy but I don’t care. My need of working with great actors is paramount and David’s a shining example of what makes it all worthwhile. I commissioned Takin’ Over The Asylum for the BBC and worked closely with the writer throughout the creative process. I knew as soon as I read the screenplay, David was going to be perfect for Campbell. But I’m not a fascist about this kind of decision-making, so I mentioned to the writer and Casting Director I had a boy ‘in mind’ for the role. I didn’t oversell; I knew he would make it work for himself. There may have been some minor scepticism at first, but when he did his audition, he blew them away.

David's audition tape for Takin' Over The Asylum

Many of David's fans have seen Takin' Over The Asylum and are well-versed with it. Can you talk more about Strathblair, The Brown Man and A Mug's Game, and David's roles in each?  Little is known about the roles he played in those productions. Can you give us any insight into the stories behind all three of the projects themselves, and what was it about David in those years that made you want to cast him in all of them?

In truth, Strathblair and The Brown Man were merely cogs in my directing wheel. They weren’t aesthetically of great merit but gave me a few credits to kick-start my career. What I needed was a ‘signature piece’ and that came along with Takin’ Over The Asylum. In many ways, I regard that as the start of my directing career. In those days, without a high-profile production on your CV, you would more than likely be destined for a treadmill of soaps and ‘continuing drama’. Before Asylum I was picking up scraps; after it, I was being asked what I wanted to do. Thus A Mug’s Game became my second collaboration with Donna Franceschild, who’d written Asylum. Ken Stott, Katy Murphy and others from Asylum were already on board - and really? We just wanted David to ‘be in it’. It wasn’t a huge role but he kindly agreed to come in and do it for us. Played a music student (at the Scottish Academy, as it happens), as I recall but, again, hugely professional and accomplished. In one scene, he had to throw up over the railway tracks at Partick train station in Glasgow.... ah, an enduring memory.....

Did David do anything on set of any of the productions he worked on with you that totally took you by surprise or that was unexpected?  What did he do?

I think in those days, more than anything, it was important to keep in mind just how young he was. This boy of 21, was commanding the space, displaying an extraordinary ability to create laughter and tears; sometimes both at the same time! He had natural charm and wit and that, combined with this wonderfully spontaneous joie de vivre, made him a joy to be around both on the set and off.

What do you feel David's most unique/valuable attributes as an actor are?  What do you think separates him from his peers as he has matured into the career he has today?

When I look at him now I still largely see the same lad I met all those years ago. Still bursting with enthusiasm and an absolute desire to come out on top – which he’s done consistently. He’s retained his appetite, clearly, and devoured a huge range of roles – never seeking a ‘comfort zone’ in the process. It’s also struck me that he’s never attempted to be somebody he’s not and that truth, integrity, diligence – some might say, ‘Scottishness’ (!) – defines the man we see today.

David has said he considers Takin' Over The Asylum a career-defining project for him. What is your reaction so many years down the line to that comment?

I’ve always been rather humbled by David’s regard for myself and Takin’ Over The Asylum. I genuinely never felt I did anything out of the ordinary. I picked the best man for the job which, God knows, he underlined in spades once he played the role. He gave me as much as I gave him. Of course, there are occasions in my own career where I look back at defining moments and say “if it hadn’t been for so-and-so”.... but, I guess, the reason why we can reflect in that way, is because we didn’t let anybody down. David didn’t – and I hope I didn’t.   Looking back at Takin' Over The Asylum all these years later, do you feel it still holds up as well as it did?  In retrospect do you feel it helped shed as much needed light on the mental health industry as you'd hoped?

Funnily enough, somebody called me the other day to say he’d sat down and watched all six episodes and couldn’t believe how well it’s stood the test of time. I think I agree. I suppose because it’s a subject matter nobody would touch with a bargepole these days – that’s keeps it fresh somehow. All the scripts were vetted by the Association For Mental Health before we signed off on them. The writer had had mental health issues and wanted it to be authentic and in no way derisory. In fact, I remember many of the extras I cast all had had mental issues – one in particular having been institutionalised for 37 years!

I'd like to explore your decision to cast institutionalized patients as extras in Takin' Over The Asylum in a bit more detail. Was this related to filming the series at Gartloch Hospital, and if not, how was the idea first presented and eventually implemented?  Was this something you and Donna discussed as part of your intention to make the show as sensitive to the subject matter and as authentic as you could?  And did you run into any problems with compensating the extras, or any other issues relating to their Sectioned status?

It was simply an idea I had not just to add authenticity, but to have these guys make a worthwhile contribution to the film – and also make them feel good about it, if you like. I wanted to dispel the notion that all mentally ill people were screaming banshees – the story alludes to this anyway – by whose definition are we mad? I also thought it would help the non-mad actors (if there is such a thing!!!) to be surrounded by the ‘real’ rather than the ‘made up’ and thereby enrich their own performances.

Speaking of Gartloch Hospital, how did you choose that particular hospital for the filming location?

Gartloch was one of several mental hospitals around Glasgow being run down at the time, as part of the government’s controversial ‘care in the community’ programme. In other words, ‘we don’t want to pay to look after them any more, so you do it’. Of all the ones I looked at, Gartloch – not least with its huge tower – seemed to provide the best ambience; most suitable for the story and visually rewarding also.

Exploratory views of the interior and exterior of (now abandoned) Gartloch Hospital

As you mentioned, you do certainly seem to gravitate towards actors and writers that inspire you. Years ago you spotted a certain something in David -- so if given an opportunity, would you be willing to work with David again and if you could choose your own ideal role for him, what would that role entail?

Nothing would give me more pleasure than finding a project that both David and I could work on. David, creatively, is a bit of chameleon, so I don’t think there’s an ‘ideal role’ for him as such. A brilliant piece of writing and a character that takes him a place he hasn’t been before would be the simple remit.

Over the years many fans of Takin' Over The Asylum have expressed their desire to know what happened to Campbell and Eddie after we left them. If you were to continue their story, where do you think Campbell and Eddie would be today?

My hunch is that Campbell would have gone on to be a success in the music industry and Eddie would have tumbled into an even darker place, fueled by alcohol and self-doubt. I’ve often imagined Campbell inadvertently bumping into Eddie while he was sleeping in a cardboard box and Campbell doing for Eddie what Eddie had done for Nana in the very first episode.

Lore is - from Donna amongst others -- that you asked her to take a minor character from a play she'd written and make a drama around him. Of course that character is Ready Eddie McKenna. Could you tell us what the name of that play was?  And what was there about Eddie in the framework of that play that made you see him as the kind of character that could carry an entire series - and that Donna was the woman to write it?

With regard to the question below, it’s strange how little fateful moments define what we are and what we do. In my early days as a Producer, I commissioned Donna to write one of four monologues I was overseeing – I didn’t direct it, as it happens, but it was a sterling piece performed by Katy Murphy. The BBC – not myself – then commissioned Donna to adapt a stage play she’d written called And The Cow Jumped Over The Moon to fit a play strand we were doing at the time.

On the day of the studio, the Producer overseeing the project, was taken ill and they asked me to fill in for her ‘in the gallery’. (This was an old TV play where you worked in a rehearsal room for, say, three weeks then shot the whole thing – multi-camera – in a matter of days). Of course, as a result, I became familiar with the material and was indeed taken by this minor character – Eddie – who was a hospital radio DJ. After that, I asked Donna if she felt there might be mileage in creating a serial based around this character. I’d love to go into great and meaningful depth about why I thought that but, in truth, it was just a hunch – although it was one relative to how Donna was writing at that time; I believed she could deliver something unique with wide appeal. She hadn’t done any original TV work at that time (apart from the monologue) and had worries.

It took her some time to finally come up with a first draft – the breakthrough, she told me, came when she switched from just a hospital to a mental hospital. After that, we worked the episodes one at a time getting precisely where we wanted to be on one, before moving on to the next. Not an option that’s often available these days. During this process both Donna and I were supported hugely by the then Head of The Department, Bill Bryden. And that support manifested most clearly in simply leaving us to our own devices. No script executives, story editors or any other distractions. The work we ended up with had the footprint of nobody but ourselves.

And that's that! I hope you all enjoyed this unique insight into Takin' Over The Asylum and DT's work with David Blair.

Look back in the past

David said "I don't want to go" and RTD said "don't worry babe I got u"

Just the sheer matter-of-factness of this. So beautiful. Raw and honest. It's a rare gift to write them like that. Love it.

(Not a shipper, I said? Well...)

Thoschei kiss without a motive :O

(hands to u my first writing of the morning) have some weird little guys

He’s getting used to breathing again.

Funny thing about coming back from the dead in a body that resists it, that would rather burn than focus on the beating of its own hearts: it was hard to remember he needed air. Hunger came much easier.

This body is alive now. A little radiation can be good for you, under the right circumstances. Even better with a taste of fate derailed and a glimpse of the Doctor’s wide-eyed shock, as if he was the only one who got to break the rules of time.

Hunger lingers. Hunger transforms. He’s growing restless inside the TARDIS’s walls. Not a prisoner — the Doctor has never been able to keep what he loves in a cage, always sets it free and doesn’t dare hope it loves him enough to return. Not free — where would he go? And besides, the Doctor can barely fly the TARDIS on his own. What if he went and crashed into a moon and forgot to regenerate because the whole ordeal was so humiliating? The Master can’t leave him.

The Doctor can’t look at him, most days. Others, he can’t look away. He’s bad for conversation whether he’s guilty or enraptured.

So the Master takes up sneaking into his room while he’s asleep. The Doctor would at least lock his door if he didn’t want it to happen, not that any lock would keep the Master out for long. The Doctor sleeps in awkward bursts, a familiar pattern that he’s never grown out of and the Master has always had to deal with. At least he manages to get into his own bed these days before passing out.

The Master perches over him. He watches the Doctor breathe and matches him. He doesn’t make a sound.

He’s bold enough to touch when the Doctor is deeply unconscious. He slides a hand over the Doctor’s chest and feels one heart, then the other, so slow and peaceful. Not like the humans he plays around with their jabbering single heartbeats, too fast and too loud.

He raises his hand to the Doctor’s throat. He likes this body’s neck. His hand fits so well around it. It would have been a shame to let the Doctor regenerate into someone that the Master’s hands might not belong on. His lazy pulse beats below the Master’s fingers, and his breaths echo from the Master’s own lips.

Up again, to his mouth, to feel the air pass back and forth.

He doesn’t think. He takes.

The Doctor’s mouth is slack and warm.

And then, his hand is in the Master’s hair before he can react, keeping him still and close.

When he’s allowed to pull back, the Doctor is watching him. He doesn’t move, doesn’t panic, as comfortable as before. The Master wonders how many times the Doctor’s been playing at sleep to lure him in.

“I thought you came in here to kill me, the first time,” the Doctor says calmly. “I prefer this.”

Today I remembered what it’s like to *casually* switch your phone on time and again - just to see how beautiful your lock screen picture is. 

Beautiful and enigmatic enough to provoke questions I'd be only too happy to answer!

I made this wallpaper for myself but I’m done gatekeeping it

Please enjoy ❤️

PLEASE REPOST IF YOU SAVE / USE