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ineffable-suffering · 6 months

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Why Aziraphale is an unreliable narrator

Part 3: The Story of the Magic Show in 1941

Let me at first put a small index for you here, since this is a three part meta and you might want to read the posts that precede this one:

Part 1: The Story of Job

Part 2: The Story of wee Morag

... and now: Welcome to the final Part 3! We made it! Or well, we will have, soon-ish. Because let me give you a fair warning: This one is definitely the longest one out of the three. And by long I mean literally almost 5k words long. Mainly because there's a lot to work with since the 1941 minisode is less mini and more the entirety of S2E4 and also, in my opinion, needs a lot more context than the others. But! That shan't discourage me, as I am currently stuck in bed with a bit of a sore throat, a steaming cuppa tea and an entire afternoon to spare.

So, for the third and final time in this meta series: Let's get cracking! Under! The! Cut!

I shall spare you another summary of the points I have made so far and, should you not have read or remembered them, I kindly redirect you to the end of Part 1 and the beginning & end of Part 2, where I summarize most of it. Don't worry, the link to this post will be in both of them, so you can hop right back once you're done!

On commence with some needed context.

I think one of the most important things to point out at the very beginning here, is that unlike with the other minisodes, we don't have a direct indicator that this is once again one of Aziraphale's memories or diary entries. In the Story of Job, we see him read the part in the Bible and actively immersing himself into the flashbacks (so deeply, even, that Crowley leaves in between, since Aziraphale seems to be so intensely lost in thought). And the Story of wee Morag is being narrated to us by past Aziraphale's diary entry.

All we see before the start of this episode's minisode, however, is Aziraphale driving the Bentley before Shax unconsensually hitchhikes with him and then leaves again. The title squence rolls and we're in London, 1941. And once the minisode ends, it's also not with Aziraphale looking like he just remembered something or a shot of his diary, but instead with present day Shax going to Beelzebub to request permission for the attack on the bookshop and then Aziraphale arriving in Soho, back from his trip to Edinburgh.

It's safe to say, therefore, that these two somehow indicate why and when the 1941 flashback starts and ends the way it does. And they do! You just have to listen and look closely, because the hint of whose memory this is, is a bit more subtle. Let's take it bit by bit.

Shax reveals herself to Aziraphale, catching him off guard. ("You have the advantage on me." "I do, yes.") She then go on to introduce herself as "former admissions demon" and ...

"Now, a Hell's ambassador planner, potentially plenipotentiary* to this corner of the planet. Replacing the demon Crowley."

*(Thank you for pointing this subtitle error out in the comments, @odonataanisoptera!)

At first sight, this might seem like no new information. We already know this, we have seen Crowley and Shax talk multiple times, we know Shax is Crowley's hellish successor and we know Shax now lives in Crowley's flat in Mayfair and, due to that unfortunate circumstance, Crowley in his car. You know who doesn't know this yet?

That's right: Aziraphale!

Neil himself confirmed that the reason why Aziraphale hasn't yet asked Crowley to move into the bookshop is because he doesn't know Crowley is living in his car! Which also indirectly implies that he hasn't told Aziraphale yet that he's no longer Hell's representative on Earth! Massive communication issues aside, this means that four years after Armagedidn't, Aziraphale is realizing for the very first time that Crowley is no longer officially employed by Hell.

Which is quite big news! We don't really know what Aziraphale's exact state of employment is with Heaven, but we do know from Crowley saying so (to Shax, again) in S2E1, that they no longer talk to him and he no longer reports back to them about his work. We can therefore deduct that he isn't actively operating as Heaven's ambassador on Earth anymore – on Heaven's own volition.

After they pulled off their body swap stunt post Armagedidn't, Crowley and Aziraphale of course secured themselves some temporary freedom from both Heaven and Hell. But it was only ever that, right? Temporary. Crowley says so himself at the end of Season 1: "They'll leave us alone ... for a bit." Sure, they were both sort of free to do whatever they wanted, but up until this very moment in the Bentley with Shax, Aziraphale thought he was the only one out of the two of them who had not only been let off the leash a little but also, so to speak, let go from his former employment. Which really explains his genuine, surprised look once Shax lets him know she's officially Crowley's replacement.

Their body swap trick gave them some breathing space, yes, but that's still entirely different than actually officially being let go from your job obligations and duties. What Aziraphale doesn't know either, however, (because again, Mr. Anthony J. Can't-Communicate-Crowley hasn't let him known), is that despite having been replaced and technically absolved of his hellish duties, Hell still very much relies on and demands things of Crowley. And also that Crowley himself hasn't been able to drop his weariness and worries since he still seems to seek out any and every information he can get on what's going on in the Up and Down. David Tennant said in an interview about Season 2:

"[...] interestingly, when we first meet Crowley, he's on a park bench catching up with the person who's taken his job. He obviously can't quite let go. He still wants the updates, and he still wants to know what's going on."

There's just so awfully much Crowley isn't telling Aziraphale – but that's stuff for another meta.

Either way, it eeks me a bit that we don't certainly know how much and what exactly Crowley has told Arziraphale about Shax – but it clearly can't have been all to much, since the Bentley conversation is their first encounter and Aziraphale doesn't even seem to know what Shax looks like, let alone that she's Crowley's new replacement. Crowley must have mentioned her to Aziraphale at one point or another pre-S2, because he does name-drop her when Aziraphale is about to reveal the appearance of Jimbriel ("You'll never guess who Shax was asking me about").

But it's one thing for Aziraphale to know or deduce that Hell might still occasionally send someone (like Shax) to check in on Crowley and another thing for him to not know that Beelzebub still summons Crowley whenever they feel like it, trying to coerce/blackmail him and that Shax regularly follows, even threats Crowley and lives in his goddamn apartment because she now fully replaces Crowley in his former job.

So, to sum this up: Aziraphale just received quite a bit of news Crowley withheld from him until now, but is also still lacking some other context that neither Crowley nor Shax has given him yet in order to be aware of the full picture.

Now, you're probably wondering: What the f*ck are you on about, OP, what does this have to do with the memory and narration analysis that this whole meta is supposed to be about? Well, dear reader, I'll kindly ask you to just hold onto that thought I outlined here until a little later. Tuck it in your pocket, don't worry, I'll remind you to take it out again once it's time.

Despite looking clearly incredibly surprised and, what is is again– ah, yes, flabbergasted upon hearing of Crowley's replacement, Aziraphale only reacts with a short "Ah", trying not to give away the fact that this is indeed very much news to him. He then continues to try and deflect anything Shax is saying and suggesting about Crowley. Except for the part where Shax says that she doesn't think Aziraphale seems like Crowley's type at all. And I cannot, for the absolute life of me, keep that GIF out of here, so:

God, how I adore you, Mr. Sheen, master of immaculate microexpressions.

Alright, let's move on from the brief flash of sassy angel, onto what Shax says next. Because this is the crucial part:

"You know ... what, sometime in the last 80, 90 years I remember hearing that you and Crowley were an item. I didn't believe it then. Not really. Poor old Furfur. He thought you were his ticket to the big time."

Which Aziraphale replies to:

"I'm afraid I have no idea what you're talking about."

But you do, Aziraphale, don't you? Of course you do. How could he forget the time he almost got Crowley caught together with him by Hell ("Fraternising!") in what was probably one of their most insane and turbulent adventures (that we know of, at least). And now he knows that Shax knows about it too! At least some of it, because she used to work together with Furfur and was the one who pushed him to do his investigation in the first place.

We end their little Bentley encounter with Shax getting out, cryptically saying "You've already told me where Gabriel is" and Aziraphale hurriedly speeding off back to London.

I'd like to briefly point out that according to Google Maps, Edinburgh is almost an 8-hour drive away from London. Of course we don't know where exactly Shax semi-grand-theft-auto'ed into the Bentley, but it's safe to say that since it's still dark when she does and Aziraphale arrives in London when it's light out and morning already, he must have at least been driving for another couple of hours. All by himself, with nothing to think of other than a) Crowley never having told him that he's been relieved of Hell's duties and –– you guessed it –– b) what happened in 1941.

And here's where it gets interesting: It's not just Aziraphale who's remembering 1941. It's Shax, too. It hit me like a ton of bricks, once I realized. Shax is the one who brings up 1941 and Furfur's mission to get his promotion. So everything we see that happens in Hell, with the Nazi spies being processed, are Shax's memories. Obviously Aziraphale couldn't have known or remembered any of that. But Shax could! And she does. Because this entire minisode is their shared memory of it, stitched together with the parts both of them actually witnessed.

And alas, here you have it: The reason why it makes so much sense that this minisode is so much longer than the last ones and also happens right after Aziraphale's encounter with Shax. They both were just very much reminded of what went down all those years ago. And they're both thinking back on it to come to some sort of conclusion. And funnily enough, it ends up being the same one – but I'll get into that in a bit too.

Aziraphale's got time to kill in the Bentley. A few good and long hours alone, with the knowledge of Crowley's and his own sort-of-newly-found freedom at the back of his mind. (Crowley! No longer bound to Hell! Himself! No longer bound to Heaven! Blimey!)

What else would Aziraphale think of, if not the time he realized, after the demon had saved his precious books, he was utterly and irrevocably in love with Crowley. And what else could Shax think of on her way back to London, if not the time Hell almost got proof of Crowley and Aziraphale being "an item", putting one of her colleagues onto investigating it and only now, decades later, coming to realize that it was true after all – giving her the confirmation that there was only one place Crowley would hide Gabriel while Aziraphale was gone: the Bookshop. Aziraphale's bookshop. Because if there's any demon that would have unrestricted access to it, it would be Crowley – as Shax has just now realized.

Let's just say it's no wonder that this minisode is about to be an explosion (pun intended) of all the things we have seen and realized about how Aziraphale capital-r Remembers things (ft. a bit more behind the scene knowledge, provided by Shax). And yes, it took me this absolutely ridiculous amount of time and words to get to the actual beginning of this minisode. But I'll be as bold as to say that you'll thank me for it because if there's one thing all of this teaches us, it's that context is so very important for memories and decision making.

... let's continue!

Title sequence: Rolled. London, 1941: Begins. Nazis in the church: Bombed. Books: Saved.

(Aziraphale: in Love.)

Right away again, the title card for "London 1941" looks like an old black and white film, similar to the retro hue and colouring of the Job episode in S2E2. We see what we saw already in Season 1, with the bomb dropping and Crowley saving the books. What we didn't know is what Shax's memory will now show us: How the Nazi spies were processed in Hell. And how she offered to help Furfur with being promoted if he could get her some intel on "some demon being up to no good."

I have yet to fully take my time to take a closer look at Shax, but I think she's a lot more competent and smart than Hell gives her credit for (similar to Saraqael in Heaven). How else would she have gotten word of A Certain Suspicious Demon while she was still an admissions demon herself. Or figured out simply by Crowley's Bentley not being at the bookshop in S2E3 that Aziraphale must be the one who'd currently be driving it somewhere. But okay, I really don't want to divert too much from my own plot here, so let's jump right ahead into our next scene: Aziraphale's first memory in this minisode.

I'm just gonna play Captian Obvious for a second here: There's literal sparks flying in the air. Red, firey, passionate sparks. And an angel looking like this:

I'll just let the imagery do the talking.

Now we have that love-birdery out of the way: I was at first going to once again call bullsh*t on the timeline our dear smitten Aziraphale is giving us here. Because I thought: "You're really gonna try and tell me that while there was an actual Blitzkrieg happening just down the block, the girls playing Ladies of Camelot had nothing better to do than to happily perform at the Westend like nothing out of the ordinary had happened?"

But the answer is ... yes. Yes, they literally had nothing better to do – because they were still performing! I chastised our dear angel too soon, because lookie here:

(Source: https://en.wikipedia.org/wiki/Windmill_Theatre)

I indeed didn't know that the Windmill Theater remained open during WW2 –– but it did put a smile on my face that the article specifically mentions it remaining open even during the hight of the Blitzkrieg. Neil, you clever man!

Also, one last nugget of appreciation: Aziraphale most definitely having no clue what sort of performances actually happened at the Windmill Theater (in case you don't know, just check Wikipedia for a sec), exclaiming "Sophocles! Shakespeare!" and Crowley simply going "Something like that" just warms my heart infinitely.

Fondly thinking about Aziraphale asking Mrs. Sandwich: "What exactly is it that your girls do?"

Another thing that seemed strange to me at first, that I think I also managed to semi-debunk, is the fact that Crowley's Bad Deed of that day seems to have been to deliver 80-percent-proof alcohol to the Windmill Theater. It made me frown and go: "Huh? I don't think alcohol was illegal in England in 1941?" However, upon googling around a bit, I think it might actually be not so much about the alcohol itself, but who it was given to. Which, in this case, is the American soldiers frequenting the nude shows at the Windmill Theater. All I could find were some books and essays, one of them titled "The Wet War: American Liquor Control, 1941–1945", as well as this short abstract of a paper that seems to talk about how American soldies consuming alcohol while at war/stationed abroad for WW2 were frowned upon by US Army chaplains because "the impact that alcohol would have on the men's moral well-being".

So, it would make sense for Hell to send a certain alcoholic temptation to one of the dens of temptation itself – the Windmill Theater. Enter Anthony J. Crowley, your local Nazi-church-bomber, book-saver, angel-seducer and alcohol-smuggler. (Albeit that last one sort of failing a little. Sorry, Mrs. H.)

(Sidenote: @createserenity gave a lovely and very plausible explanation of the whole alcohol delivery and also who Crowley's character design might have been based on in the comments of this post!)

Aziraphale then of course jumps in, offering to be the magician of the evening to repay his "good friend" (sideye), waving around his little handkerchief like an excited little boy. ("Ah, the ✨theatér✨!") We also get the first zombie!Nazis content, which I believe is probably a reconstruction of what the zombie!Nazis told Furfur once they met up with him again and what Furfur then probably told Shax once he failed his mission. Brains eaten, we continue to this glorious line:

He's just so very excited and giddy about it all – and I think that's partly because he a) just realized that Crowley loves him (and he very much loves Crowley too) and b) because Bentley!Aziraphale who is remembering this, probably remembers it even more fondly and giddily. We've seen his emotions bubble over a lot more during the other minisode-memories – so it only makes sense that in this one, he's remembering himself to be almost out of his mind with happiness and excitement about Crowley the magic show.

Remember what I asked you to tuck into your pocket?

Take it out again. Go on, there's a love! Because what is it that Aziraphale realized mere moments ago during his conversation with Shax? Crowley is free of Hell.* (*and remember, he doesn't know that that's not entirely true because no one told him the rest of the facts. So yes, we know it's not quite as simple – but Aziraphale doesn't.)

For all of S2, he has been trying to bring his relationship with Crowley to a new, more domestically intimate level (our car!), confidently and potentially even a bit carelessly ignoring the still-very-much-there threats of Heaven and Hell. I think one of the things that might have still been holding him back in his attempts to get to the next base (huehue) was the fact that he thought Crowley was still actively employed by and tied to Hell.

In all of S2, Aziraphale does come across as a little bit blinded by his desire to finally be with-be with Crowley (rose-tined glasses obstructing the view and all) but he's not completely carless. He knows Hell to be way more cruel to their employees and has always been careful to not get Crowley into too much trouble by being associated with him. But now he has (a little falsely) deducted that Crowley is in fact no longer in hellish demand – and isn't that just absolutely tickety-boo! Lacking the context that we, the audience, have, Arziraphale.exe is currently running hot on: Heaven and Hell don't care about Crowley and me anymore! We're free of our employers' interest in us and the threat that used to bring!! I've been trying to lock this serpent down ever since the World didn't end – and now I finally can!!! I'm We're able to do whatever I we like which is to finally confess to Crowley!!!!

From Bentley!Aziraphale's point of view, this is the literal green light on their highway to Alpha Centauri! Metaphorically, anyway. More like their country road to the Southdowns. And, for now, the M1 to London– back, back, back to Crowley!

For a minute, I did wonder about why he doesn't seem at all worried or stressed once he arrives in London after his journey. After all, Shax did very clearly threaten him and insinuated that she already knew where Gabriel was. But if you look at Aziraphale all throughout Season 2, it's so very evident that he's completely occupied with being soppily nostalgic of all the memories he recalls of him and Crowley and, even while facing off with Heaven and Hell again, seems oh too happy to ignore all that because he only has eyes for one thing.

Need I say more?

So, of course, realistically Aziraphale should probably be worried and weary of what Shax said (and maybe also a little taken aback by the fact that Crowley never told him any of this). But oh, isn't the world just that much lovelier when you look at it through shades of yellow and rose? And ignore everything else because if you only look at what you want to look at, both you and the serpent of your dreams are finally free to be together? So, of course! Azirapahle should be so! Very! Concerned! But instead, he is so! Very! Happy!

Both back in actual 1941, after Crowley saves his books, as well as in his memory of the story, aka in the current present day – which we don't get to see until he leaves the Bentley, but then it does show.

And it shows even more while he's still remembering 1941:

Crowley doing an American accent? Oh, that must have been so funny and charming, look at him slapping his thigh, unbuttoning his jacket, leaning back all suavely and watching me– I mean ... the Ladies of Camelot.

There's this excellent meta by @cobragardens I read on the colours of red and yellow in this 1941 minisode as well, which further makes a point of how red is clearly Crowley's colour in Aziraphale's mind – and it's so, so vibrant in this memory specifically. Poor angel has really got it bad for his beloved book-saving demon.

I'd also like to point out Aziraphale's tendency to exaggerate again, both when it comes to others and himself. We see this in the other minisodes as well, and here again, when he seems almost overly-clumsy, dropping those big trick-rings twice, making a tower of cards topple over and then dropping even more things on the counter. This is probably just a bit of a projection how he might have been feeling about performing as a magician: Slightly nervous, trying to overplay it and yet very keen on getting it right.

Crowley seems to always just be watching silently when memory!Aziraphale is acting a little out of character – possibly because there was no actual reaction from him since these slightly overdramatic things weren't actually this dramatic in the first place.

Another thing I would very much take with a grain of angelic memory salt, is one of the Nazi zombies actually walking into the shop while Crowley and Aziraphale are still in there. First of all, that would be pretty bold of him/them, given there's only three people in this tiny shop. And second of all, don't you think it's odd that neither Aziraphale nor Crowley would notice a literal undead person sauntering into the shop? I'll give Aziraphale the benefit of the doubt, since he's currently on cloud nine. But Crowley? How on Earth would he miss that?

Unless the zombie never actually went into the shop, put on silly costumes and rings (because given their track record, in my opinion, goofing around is a very un-Nazi-like thing to do) and it's just what the autopilot of Aziraphale's daydream is playing in the background, to fill in the gap for how the zombie!Nazis figured out where his magic show would take place. Because as we already saw, Aziraphale is a bit, well ... busy in that moment.

This GIF is not sped up, by the way, that is indeed the absolute astronomical speed Aziraphale shook Crowley's hand with when he agreed to pretend to shoot him on a live stage. He's my favourite. Of all time.

Alas, the curtains at the Windmill Theater draw aside, ladies and gentlemen: Enter Fell the Marvellous!

Firstly, I would like to point out that Aziraphale is literally being surrounded by all things Crowley – the red curtain to his back, the red and black feathers to his left and right and, well, literal Crowley in the audience to his front.

Just another little ode to how beautifully this whole minisode is done colour-wise.

If you read Part 2, you might remember me saying that how and what Aziraphale is feeling is actually translating directly to what we, the audience, are shown through cinematographic and auditory clues. And this very same thing happens here too. Its starts around the minute mark of 28:31. Right after Aziraphale realizes that his miracles aren't working and he still announces the bullet catch, introducing Crowley, you can tell that the whole frame starts to shake every so slightly.

At first, it's extremely subtle and you could possibly wave it off as simply being filmed with a hand-held camera. However, the further we progress into the bullet catch trick scene, the more the frame starts shaking.

I have taken the liberty to make a little cutdown of how this intense shaking progresses, so that in case you never noticed it before, I can spare you the time of going back to watch it for yourself.

It might be a trick of the eye but it even seems like the edges of the frame grow blurrier the closer the actual firing of the gun comes. And I don't think I have to tell you what feeling this is trying to convey. Anyone who's ever had a panic attack would probably describe it exactly like that. At least I would.

Everything is shaking because Aziraphale was most certainly out of his mind with fear and adrenaline. He wants to do this, he has to because he needs to show up for Crowley the way Crowley showed up for him at the church – but he's also literally risking being discorporated for good. And once again, we feel his panic, we feel like just like it's our own blood pumping through our veins, just like when we ourselves are shaking with fear. Because this is his memory. And a memory of such a tense and dangerous moment takes a long time to feel less scary.

Once they successfully pull of the trick, the shaking stops, of course. Fell the Marvellous nails his second trick by stealing Furfur's picture, the Nazi!zombies wander off to Satan knows where and we get another one of Shax's memories when we see Furfur not getting his promotion. (Almost makes you feel a little sorry for him, poor bugger.)

I don't have much to say about their romantic red wine candle light boogaloo, apart from the fact that it makes me want to punch holes in walls with how smited smote smitten Aziraphale looks at Crowley the entire time. And also there's this awfully sweet post about Crowley deciding to still sit and drink with him despite not knowing yet that Aziraphale had stolen the evidence picture.

HE IS SO IN LOVE I AM GOING TO SCREAM–

Back to reality, whoa, there goes gravity (as we plummet down to Hell).

Because remember: While most of this was indeed Aziraphale's memory, some of it was Shax's as well. And I'm pretty sure she knows most of what went down that night. After all, Furfur was most definitely the one who caused the rumors of Crowley and Aziraphale being "an item".

So, while Aziraphale was in the Bentley, indulging and revelling in his love-struck memories of the night he almost died* (*discorporated) twice and managed to survive both times because Crowley was there and trusted him, Shax also thought back on all of this since it was the final nail in the coffin that confirmed to her that Gabriel was hiding in the bookshop with Crowley.

So, what's the conclusion that both characters have come to during this very long flashback? It's simple:

Aziraphale loves Crowley. And Crowley loves Aziraphale.

There's only one person Aziraphale would trust with Gabriel – and that is Crowley. And there is only one place that no other demon would have access to except for Crowley. And that is the bookshop. Shax knows this now. Which is why it makes so much sense that once we're back in present day!Hell, she immediately requests a legion to attack the bookshop. Because she knows this is the only place Crowley and Aziraphale both consider safe from the outside world, and the only place Crowley would have access to because Aziraphale loves trusts him. Reflecting back on it, 1941 confirmed to her that they have been and still are the item everyone suspected them to be.

Clever, clever Shax!

As for Aziraphale: It's less of a conclusion, to be honest, and more of a reassurance, an affirmation of sorts. As I pointed out in my horrendously long context introduction, Crowley no longer working for Hell is exactly the push Aziraphale needs to finally feel like it's possible to make his move and confess to him.

And what does that news- and memory-induced realisation look like? This:

Ah yes, what a lovely day to confess your millennia-long love!

Too bad Crowley's not really up to speed yet and Aziraphale's rose-tinted little moment is met with:

... a face-full of plants. Whelp.

It's okay, they'll figure it out eventually.

My final little sidenote: The Jane Austen Ball and why it wasn't about Nina and Maggie

By all means, if you're already sick and tired of my tangents, do feel free to just skip this and end the meta early. I hope you had a good time with it, let me know your thoughts!

And for those of you who are up for a last burst of tinfoil-hatting: My conclusion to all of this is that I am 100% convinced that the whole Whickber-Street-Association-turned-Cotillion-Ball stunt Aziraphale pulls off in the next episode, was never actually meant for Nina and Maggie.

Why? Because up until getting a mouthful of plants once he arrives back in London, Aziraphale hadn't even known yet that Crowley's awning of a new age under the canopy had failed! The last time they spoke was over the phone in Edinburgh which ended with Crowley hanging up on Aziraphale to go make the love mission happen. And yet, Aziraphale clearly already has the whole ball thing planned out once he arrives in Soho, because he already calls it 'a night to remember'.

So, riddle me this: Why would Aziraphale plan this whole over-the-top romantic Jane Austen Ball on his ride back to London to make Nina and Maggie fall in love if he didn't even know yet whether or not Crowley's attempt at it had been successful or not?

It's almost like he meant for it to be his ideal way of a romantic confession for someone else.

'member the pub scene in S2E2?

Aziraphale: "People would gather and do some formal dancing and then realize they had misunderstood each other. And were actually deeply in love!" Crowley: "Now that sounds unlikely."

Resolving a deep misunderstanding like, hm, for instance, your "de facto partner" not telling you he'd been let go by his toxic employers just like you and also your quarrel about you wanting to protect your former-asshole-turned-cottage-core-dad boss from your own former toxic employers? With ✨a ball✨? (And that being, well, really unlikely to work? Oh, deary-dear angel. Oh, Aziraphale. Be still, my beating heart. You're a soldier for trying, I'll give you that.)

Are you goddamn done yet, OP?

Yes. I am. The tinfoil hat defense rests. I'm aware this was less focused on the actual unreliable narration and a bit more on contextualizing memories and feelings with decision making, deductions and actions – but hey, the road to epiphany has many winding paths. Or something.

Once again, here are Part 1 and Part 2 and if you made it this far: Congratulations, you have reached the end! Thanks for baring with me. I hope you enjoyed the journey just as much as Aziraphale did his daydream in the Bentley. And if you and me both feel strong enough for it, I might see you around in a cheeky little Epiloge to this meta series!

(Also: @dancingcrowley asked so nicely for me to tag them once Part 3 came out, so here you go!)

Cheers!

#good omens #good omens season 2 #crowley #aziraphale #ineffable husbands #gos2 #go2 #good omens 2 #good omens meta #good omens s2 #my own meta #why aziraphale is an unreliable narrator #1941 #good omens blitzkrieg #bullet catch scene #bullet catch good omens #someone take this laptop away from me i need to be stopped #neil if you see this wink with both eyes i'm sure i'll feel it

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thesherrinfordfacility · 8 months

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i did not break my own heart last night thinking about the missing 1941 scene and have it sat in my brain all of today spinning around like a fucking microwave in order to not make you lot suffer with me. and i somehow feel i may be right about this so buckle up and lets break it down.

so yes, following on from this post, i think that there is going to be a third 1941 scene. twice is a coincidence, three times is a pattern. it's been literally set up like that by even bringing back 1941 into s2 in the first place. but we're missing a crucial detail because it does not - at all, really - explain how they went from evading danger from hell and having a cosy candlelit bottle of red to celebrate, to the bastard 1967 scene. we all know this, this is nothing new.

the symbolism of nightingales is probably going to cast a shadow on this. these two excellent analyses look at the meaning of nightingales in the context of R&J, and the relation that the song has to this point in time, respectively. in summary; it's a song that should be around in 1941 courtesy of vera lynn and others, and the nightingale itself carries the meaning of love being hidden and forbidden by way of it singing under the cover of darkness, before being replaced with reality and soberness - represented by the lark. the Dinner of '41 scene is set in the bookshop at night; this would parallel - that they are safe and concealed, and truths can be shared, but the writing is on the wall that stepping outside would be to shatter the illusion, so to speak. it might be that the song itself gets miracled up onto the record player, or a wireless lying about - whatever. note: i don't think they'll dance though, not given crowley in ep5, "you don't dance"... but then again, if there ISNT a kiss in s3-1941, an aborted dance seems like the next best option... the cowardly one, but i'll take it

this would also track with aziraphale having his epiphany after the church in s1-1941; specifically, in my eyes, that he doesn't necessarily just realise he loves crowley, but that crowley by way of saving his books loves him too. this is only supported by the whole of the s2-1941 scene of trusting in each other as the only way to pull off the trick, the subterfuge. this is then, again, also important in the context of what i think happens in s3-1941.

i do think aziraphale is going to bring the books up again, and what crowley did, because it needs to be addressed. the Nazis/furfur confrontation has scared him, regardless of whether he saved them both, more than he realised. its put things into startling perspective. i think he's going to bring up the books, and actually question crowley a little more as to why he did it. the repeated use of, and subsequent weird reaction crowley has to, the use of the term "friend" in s2-1941 would indicate that this is going to be a focal point in s3-1941. are they just friends? is crowley disappointed that aziraphale is still referring to him as that, after what he did? 'saving' aziraphale in the church, and then saving his books? or is aziraphale just saying 'friends' so hesitantly in both instances because he's not completely sure where crowley stands?

we as the audience know the answer to this, but they obviously do not. if one of the crucial themes of s3 is going to be resolving miscommunication, it makes sense for this scene to be the first, and last, time they communicate properly... at least, until they sort out the issues that culminated in the Final Fifteen.

so let's say they start getting into a very roundabout way of discussing what they mean to each other. there will need to be the sobering, ice-water-over-the-head realisation however, as s2-1941 demonstrated, that they cannot belong to each other, because they manifestly belong to heaven and hell respectively. crowley is still being spied on, and it firmly places aziraphale in their line of sight too. it's going to bring up the holy water discussion; why crowley asked for it - to protect himself, whether by taking out demons or taking out himself, as long as it means he - and most importantly, aziraphale - does not get hurt.

they actively confess that they want to be together, in a way that is more than they are now. aziraphale wants to, but says that they can't, because it's too dangerous. crowley suggests that no one ever has to know, they can hide it (there, in the bookshop, whilst the nightingale is singing), and even if they are found out, they can run. "hell won't just be angry; they'll destroy you..." // "no one ever has to know".

aziraphale doesn't want to have to hide it, doesn't want a halfway measure- is still thinking in black and white. crowley however thinks that something is better than nothing - thinking in the grey. but ultimately, as long as they are still shackled, they cannot do what they want, and it puts the other in danger. "surely the great thing about being a demon is that you can do whatever you want" // "you sound jealous, angel...". instead, aziraphale promises that the day that they are no longer tied to heaven or hell, they can be together; crowley scoffs, thinking that that will never happen, so they will never happen, "you're so clever! how can someone as clever as you be so stupid?!"

the reason they can't right now is because they could be caught. they would have to skulk around, be ashamed, feel guilty - and aziraphale is tired of feeling like that. because only having crowley in secret would hurt more. not being able hold his hand, or dance with him, or kiss him, unless it was in the bookshop. if hell were to find out, crowley would be killed, true, but if heaven were to find out, aziraphale could be cast out. and if crowley survived hell long enough to see aziraphale fall - he'd never forgive himself, and in a way, i don't think he'd ever forgive aziraphale either.

it's tearing them to pieces, but they have to stop whatever is happening between them in its tracks. it's acknowledged, but it's not named. this gives them plausible deniability; if they called it 'love', it would be undeniable. so, aziraphale asks for crowley to go; asks him to leave before they do something they can't come back from. crowley doesn't listen - crowds him, gets in close, and aziraphale is powerless to stop it. doesn't want to stop it. he's selfish by nature, a selfless kind of selfishness, but he wants this with all his being. and then - "this is too fast, crowley, please don't..." // "im sorry, angel. please... please, forgive me". aziraphale never gets to answer, to grant him that, because boom - the actual first kiss.

so. now that i've had to make you read that, i'm going in for the kill. let's look at everything that follows - and look at how the above might recontextualise it.

1967: the offer of the picnic, the Ritz? ie. the literal lyrics of berkeley square? aziraphale has caved in the interest of giving crowley a weapon to use if all else fails, to protect him, but that's as far as he's willing to progress. everything else is still too painful; he's on the brink of tears, promising that one day they'll be able to do what they want, to be open about how they feel, but not yet. they can't. crowley tries to push, "ill give you a lift, anywhere you want to go..." (him offering again to run away? a second chance to leg it?), and aziraphale reminding him that they can't, he can't... don't make him go too fast again, it's not fair. it also sets up perfectly that aziraphale and crowley don't speak for the next 40 or so years (as far as we're aware) until armageddon is threatened.

bandstand: mostly this is still centred around the apocalypse contextually, but i think with the above hypothetical scene in mind (the offer to hide, to run away, to be together), aziraphale is sent back to remembering their mutual confession that they've nonverbally agreed not to bring up, because it's not safe, and it's too painful. they've skirted around it, and returned instead to a tentative kind of friendship at the beginning of s1, but they're still not safe to address why seeing each other again, being so close to each other and not being able to touch is so painful. anyway - aziraphale refuses their side, but the above scene would re-view this as 'our side can't exist yet, you know this! you know why it can't!', and crowley leaves, again after pushing a bit more than aziraphale can stand.

alpha centauri: basically a facsimile of the above; same steps, same dance. but this time, crowley harks back to aziraphale's foolish (?) hope that they will be together, without having to run away, when the day comes that they don't have to answer to heaven or hell. and aziraphale smacks him right back, echoing crowley asking for aziraphale's forgiveness in kissing him, "i forgive you." crowley knows exactly what aziraphale is getting at, there - he's answering crowley's whispered plea to forgive him for pushing, for trying to force him, for acting in desperation. but he's also not answering that - he's skirting around that very thing, forgiving him like a knife would, slicing back at crowley for not only insulting aziraphale on something that is likely a genuine insecurity of his, but also putting him back in his place, for their safeties, because them being together just cannot happen. not yet.

and "please forgive me" in 1941 might seem out of character, but idk if it is; crowley knows that doing what he's about to do will hurt aziraphale, aziraphale has (hypothetically) told him as much, but he needs to do it - and seeks not benevolence or forgiveness as crowley-the-demon, but actually seems aziraphale's forgiveness, as crowley-the-person. the echo would certainly match the tone given here, in multiple ways:

the ritz: i mean, what is there to say? yes, their song is literally playing on the piano, and heralds the shift in their being out from heaven and hell, the day has finally come where they can - again, going by this entirely hypothetical scene that ive concocted - actually be together as they want to. and the nightingale literally singing outside, but as @shoemakerobstetrician beautifully pointed out, god remarks that it's covered up by traffic. so actually, if we again refer back to R&J interpretation of the nightingale, the love is still hidden, still somewhat under wraps, but can only just about be heard over the noise of the streets outside. the prohibition of them being together, of loving each other, is dwindling. and one day, it'll stop singing altogether. that day is coming, it will come, and then they can do what they please. so whilst the ritz scene may well be a mark of them starting the next chapter, it's slow to take hold, there's still hesitancy - which absolutely makes sense when we see that they are still very tentative with each other come the beginning of s2.

s2 general: aziraphale realises their freedom first; he gets excited by the dance, and being able to show his love to crowley, completely and without barriers, in the form of the ball - what he has read to be the best way to do so. he touches crowley more. he shares his bookshop with him, gifts it to crowley as being his as well as aziraphale's, this safe space that is so wholly theirs that crowley has the power to grant entry. the same with the bentley - aziraphale sees it as theirs, and crowley silently agrees, granting aziraphale the same power. crowley is comfortable in the bookshop to remove his glasses, has a place for them. the bookshop becomes tidier, more minimalist, to make crowley more comfortable in it (it is more cluttered in s1, im certain of it). it might just be the grading between s1 and s2, and lack of clutter, but the yellow is more prominent - his literal favourite colour. everything just screams that aziraphale is ready to make good on his promise from s3-1941.

crowley... for once, is the one not quite catching up. not realising the little dates here and there are literally poses them as a couple (although yes, the coffee shop one is to prep crowley for the goob jumpscare), that aziraphale has granted him the power to grant entry. aziraphale literally asking, practically begging, crowley to help him hide goob. the mf colour of the walls. the colour of the bentley. it's not until nina outright asks him if they are together that he realises how careless they've been - but wait, is it careless if they have nothing to be careful of? well, arguably crowley does, hell are still hanging around him like a bad smell... but this is what he wanted! this is what he was pushing aziraphale for! so, does he risk it? he's not sure, but he's certainly realising that aziraphale is ready, if nothing else. and by the time the ladies stage their little intervention, crowley finally realises that the confession he started in 1941 now can be fully aired, can come out into the open.

the Feral Domestic: *fingers at temples* i know i have been fairly vocal about my interpretation of this scene, and frankly - until we get this hypothetical s3-1941 scene, i stand by it - but let's say this speculation about the scene is true, and re-examine the key points in the Final Fifteen that would completely turn on their heads in terms of meaning:

literally, harking back full circle to what aziraphale promised in 1967 as what they would do when they could fully acknowledge their love, and what they did as soon as - on paper - they were free at the end of s1. this is however before he's spoken to by nina and maggie, so maybe this is what crowley was planning in terms of confessing fully to aziraphale, but after their meddling he realised that yes, they need to actually talk about it again. he doesn't understand why they're telling him what they are - because he's existed so long in gestures and gifts and not talking, literally dismissed it now as a viable option, that it doesn't even occur to him to try talking again.

which is why he does something brave, and tries to tell aziraphale instead (say it out loud, make it undeniable, put a name to it, "i love you", something that i think was crowley's actual intention before aziraphale interrupts him) when he comes back to the shop... he's so nervous, because it's vulnerable, and because the last time he did, they ended up hiding for 50-ish years.

next up:

now, im reluctant to think that aziraphale lied in the Feral Domestic, because i do think the key thing at work is his paramount need to do the Right Thing (ie. make a difference in heaven). whilst metatron obviously manipulates him, im not entirely convinced that aziraphale wholly sees through it. i don't think he knew that metatron was up to something, i think the shaking off of this naivety is going to be part of his s3 character development. but this sentence - again, especially in context of the hypothetical s3-1941 scene - must on some level frighten him. especially if you take this meta into account, aziraphale must realise at least that they were never safe, even when they were denying what they were and how they felt, it didn't make a bit of difference. now, metatron could have just been talking about the arrangement, not referring to any romantic elements of any kind, but the threat of it? no wonder he pushes for crowley to join him in heaven; he could keep crowley safe there. they could be together, and heaven - in his eyes - would be able to say a word against it.

then:

the fear sets in; crowley was too late in telling him, acknowledging that they could be together, realising what aziraphale was saying to him without words, and now heaven has come for him. plonked them right back where they were in s2-1941, but perversely mirrored; instead of hell coming for crowley with violence, heaven came for aziraphale with kindness. crowley doesn't have a magic trick he can just do on the fly, perform it perfectly when the need for it is greatest, and has to cling to the hope that aziraphale still sees them as the barrier to them, the reason they can't be together. and in true miscommunication fashion, i think aziraphale does see it, but what metatron said lingers, and in addition to being inside the institution, changing it from the inside out, in order to make a difference... he knows that whilst it's exactly the opposite of what they wanted, he needs to make them safe. better to be inside the tent pissing out, than outside the tent pissing in.

but aziraphale doesn't tell crowley what metatron said, because instead he either deliberately tries to deny the implications of it (cognitive dissonance king behaviour), or he doesn't want to panic crowley and is trying to convey to crowley that he can't speak his concerns, not when the metatron could still be watching, and instead just needs crowley to trust him, take his hand, and join him in heaven where they can be safe. doesn't tell crowley that heaven hasn't captured him in shackles again, but he's willingly held out his wrists because it's the safest thing for him, and them, to do.

so it's one thing to look at what crowley's saying, but aziraphale's reaction? before, i just found it to be out of confusion, him not really understanding what crowley was saying, but tbh i never paid much attention to it (david stole this bit of the scene - not to put down my beloved michael here, but he did). and i know others have remarked here that aziraphale is flitting his eyes to the window and looks scared and stressed, but i don't completely think that its because he's scared that metatron is watching (although, now, i will accept with the rug thing and hypothetical s3-1941 in context it is definitely playing a part), but also because he's just starting to recognise that this is a repeat of the s3-1941 scene, "this sounds familiar, we've been here before... oh, we've definitely been here before... oh shit. i still can't do this, not unless he comes with me. we still can't be together, not in the way crowley wants. the way he's trying again, now, to ask for."

but the issue is: crowley wants to run away together. again. and i totally get why, but once again, going back to 1941: it's exactly the solution that will not work. they cannot run from this. heaven, and hell, will find them. they will come for them. it wasn't an option in 1941, it wasn't an option in 2019, and it isn't an option in 2023. aziraphale begins shaking his head - crowley is confessing, but a) aziraphale doesn't run from things, it isnt in his character, and b) it's just putting them back where they started - something that they have to hide. it defeats the purpose.

and this? yeah, im sure on neither side it was meant the way im about to interpret it, more of an unspoken thing, idk... but if the bookshop is indeed their place of safety, and is where they (as far as crowley sees it) can speak and keep their love, it makes sense that crowley is telling aziraphale he needs to stay. the bookshop can be interpreted so many ways - it represents their relationship, or that crowley means him, himself - but what if we looked at it like crowley is trying now to covet it, because it's protecting them? what if he's saying, "well, if you won't run away with me, we can't be free to have our relationship as we wanted it, not unless we stay here... heaven has come for you, has come for us, and whilst they're here we can't move. so what other option is left remain in this bookshop? to never leave it, and what we have inside it, because there's no other option in which we can be together if you won't run with me."

and what if aziraphale is saying, "no, i have an option, and that's to be together in heaven! they won't be able to do anything, not when im in the position the metatron has offered me, that can be our new bookshop... nothing lasts forever - this bookshop won't last forever, it's compromised, and we can't continue to secret away what we feel inside it, it's time to move forward."

welcome to the line that breaks my heart the most in this whole goddamn scene - and tbh i think is fairly self-explanatory in the hypothetical s3-1941 context. that aziraphale is trying, once again, to tell crowley that he is offering himself, letting them be an 'us', as crowley says shortly after - that before he couldnt do it, and these arent the best of circumstances, but they can finally do it and not have to hide in the bookshop. but crowley reminds him, "hey, i was in your shoes, remember. i wanted us to be together then, and you told me you couldn't, didn't want a halfway measure - well, now i don't either. and this will be a halfway measure, because i don't think us being together in heaven is going to go the way you hope it will. i understand a whole lot better than you do." in any case, it would explain why aziraphale choses this moment to look so devastated. this is what he promised crowley, but now crowley - to his mind, in the things left Unsaid - doesn't want it... him.

and then... back to the nightingales. they're not singing at all, not even under the rumble of traffic, like they were at the Ritz. they're completely absent - day has broken, the things unspoken have now been said, and there's no denying them anymore. from crowley's point of view, there was nothing to stop them this time, but if aziraphale won't run with him, then they have to go separate ways, because there is no other way. aziraphale knows there's the possibility that the only place they could actually be safe is heaven itself, that the bookshop was never as safe as they hoped it had been, but that crowley might actually come to see that. but the fact that crowley is resigned to just... returning to 'reality', to a world that's still turning where they aren't together? despite everything they've just said? "we could've been... us." well, that hurts.

and then... the kiss. now. im still of the mind that the kiss was an Issue. i definitely think it was meant out of love and desperation, and out of possibly being a goodbye. this would echo the hypothetical s3-1941 kiss... but it was hurtful. it was abrupt, and harsh, and not at all romantic (imo). it was possessive, and almost cruel. i do think still it was a last ditch attempt, a temptation, to get aziraphale to change his mind, before crowley leaves the shop and returns to the 'real world'. but it hurts aziraphale in many different ways - but with 1941 put in there, too? crowley is just testing his resolve, trying to push him, come around to giving in. crowley asked him to forgive him the last time he kissed aziraphale, and this time - this time, aziraphale is giving him what he asked for.

#did i just do a whole ass meta based off of a completely hypothetical non-existent hc of the third part of 1941?#yes - yes i did #but the Implications would not leave my brain #make of this what you will if you even got to the end and if you did frankly congratulations #good omens

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theravenmuse · 9 months

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Theorizing time! Crowley was Lucifer!

I’m going to preface this by saying I’m 50/50 on this theory, but it’s fun so we’re gonna talk about it.

Now Lucifer and Satan are not necessarily the same person in the Bible. We also know for a fact that Satan and Lucifer aren’t the same entity in Good Omens. (Neil has said this but I’m too lazy to track down the ask.) BUT in Paradise Lost, which I see as a big influence on Good Omens, Satan is the fallen angel Lucifer. Now Crowley is not Satan. We know this for certain as we get interactions between them via the Bentley in S1E1 and at the airbase in S1E6. But in this theory, the lines have been muddled and Crowely is the fallen Lucifer while Satan is someone else. No idea who. That’s not important.

Evidence Part 1: Biblical stories attributed to Lucifer/Satan that Crowley is now known to be responsible for.

Now all of these are technically attributed to Satan, not to Lucifer. See opening note about muddled lines.

The original sin

Job’s trials

The temptation of Christ

Evidence Part 2: Crowley’s former status in Heaven

Crowley can access a file that is only available to “Throne, Dominion, or above.” Now, the angelic hierarchy in GO is twisted up so much I hardly know what to make of that, but it definitely means high up.

Then, shortly after this revelation, we get the Metatron saying this: “For one prince of Heaven to be cast out into the outer darkness makes a good story. For it to happen twice, makes it look like there is an institutional problem.”

Are the two connected? Not necessarily, but the proximity of them indicates to me that they might be.

Evidence Part 3: Crowley’s power

When Shax mentions (in episode 2) the accidentally super powerful miracle that Crowley and Aziraphale co-created, she calls it one that “only the mightiest of Archangel’s could have performed.” Crowley responds to her query with, “how do you know I didn’t do it?” Now, is he talking out of his ass? Who knows. He does tend to do that a lot.

What we do know is that Crowley can stop time and create pocket dimensions. Something we don’t know of anyone else being capable of. He does this most notably by creating a pocket dimension in the climax of S1 to give him and Aziraphale time to talk to Adam, but he also freezes the executioner in 1793 and Mr. Dalrymple in 1827. The latter is especially notable because Aziraphale requests that he do it instead of simply doing it himself. Now this could just be Aziraphale goading Crowley into doing things for him again, but I’m inclined to believe this is something Crowley can do that Aziraphale can’t. Aziraphale is pretty high up by angel standards.

And then obviously there’s the star making in the opening of season 2. Or, more accurately, the star factory making, which is even better in my opinion.

Evidence Part 4: “Let there be light”

Ah, that gorgeous opening scene where Crolwey creates M16, the Eagle Nebula, which contains the gorgeous Pillars of Creation. He uses that classic line, “let there be light,” to set it all off. Lucifer is known as “the light bringer.”

Then we get a call back to that opening scene in episode 5 with Gabriel and the lamp. Being mentioned a second time means to me that there’s something intentional there.

Evidence Part 5: Gabriel’s triggered memory may be a bit more specific than Crowley would like to admit.

“I remember when the morning stars sang together, and all the angels of God shouted for joy.”

Lucifer is also known as “the morning star”

Crowley deflects and says it’s what God told Job. He’s absolutely right, but I don’t think Gabriel picking it out was random. I think it’s because he’s looking right at the morning star (or perhaps one of several, since God says morning stars, plural?)

Now this is probably the weakest bit of evidence out of the bunch, BUT, it’s what tipped me off to this theory in the first place.

Now the cons.

The most obvious is that Satan is typically fallen Lucifer and Crowley is most certainly not Satan.

Crowley also mentions Lucifer by name once in season 1, in the drunk scene after the bookshop fire. Granted, he’s starting on his third bottle of Talisker, so that may be enough for him to start talking in the third person, but it’s still odd.

Like I said, I’m not sold on this theory, but we’ve got at least three years of clowning to do so why not have fun with it?

#good omens #good omens season 2 #good omens theories #crowley #crowley was lucifer #the raven's musings

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drconstellation · 7 months

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More Half-and-Half-A-Miracle Thoughts

Part 2: The Dark side of Aziraphale

Updated 10 Nov 2023

Part 1: Miracle Power Ranking is here. Part 3: The Third Archangel is here

There was one that thing that struck me about the miracle working scene: why did Gabriel offer crossed hands to the duo?

Gabriel offers his right, his good, heavenly angel-sided hand to Crowley first, and his left, his sinister-sided demon hand to Aziraphale.

And this is NOT an accident.

Its been observed that Gabriel, in his amnesiac state like this, has reverted back to a more base-state angelic being, one of joy, and love, and curiosity. He's acting on instinct here.

Yeah, that's exactly what I'm saying. The demon has more light in him than the angel, and Gabriel and can feel that instinctively. This really shouldn't be a surprise to us, its been in our face all along. Now don't get me wrong - Crowley is still a demon, and Aziraphale is still an angel, I'm not saying that they aren't. Mostly we talk about how Crowley isn't all that much of a demon at heart, just "going along with Hell as far as [he] can," but we don't really talk about much about that other side of Aziraphale other than wishing to see more of his BAMF! side.

You know what - its a side that thanks to all of the rest you ops and meta-ists out that that I've come to both fear and appreciate. And let me tell you, if I found myself in a dark alley on a bad night I would hope to God it was Crowley I bumped into , because I feel he would at least give me the choice to walk out alive. I don't think Aziraphale would, I would be at the mercy of how ever he decided he wanted to manipulate the situation...and I find that rather chilling.

Crowley might be the charred demon with a heart of gold, but Aziraphale is the two-sided bastard of an angel he loves. All bright light casts a shadow. Its easy for us to be blinded by the shining light of goodness and right and the side of God (er, hang on, isn't the GO God an eldritch horror in disguise...?) and not be able to see what is hiding behind it.

We rarely see the back of Aziraphale's waistcoat, because he is rarely seen without an overcoat on, a covering of social propriety. There is the noticeable occasion in S2E1 when Crowley comes back to do the apology dance then they perform the hiding miracle (see screenshot below, and it was still hard to chose a good angle for all it went on for several minutes!) and perhaps in S1 when he spends all night reading Agnes Nutter's book. Both times its only in the privacy of the book shop, under the cover of night. So its easy to miss that the color of the back panel is a most un-angelic color: a dark viridian green. I know I keep banging on about this, but its important, and in more ways than one.

[Edit: Since I first wrote this, I've written a mega-meta on all the colours in GO, and some of the following interpretation has changed a little - but the significance of the green still stands!]

All the angels wear some form of a pale colored neutral palette, ranging from white to beige to taupe (white, off-white shades and shades of brown,) with dove-grey for the known in-show seraphim, Gabriel, Michael, Uriel and Saraqael. Gold and blue are also associated with Heaven. But Aziraphale is the only angel to wear green and shades of blue-green. He's quite unique in that department.

The colors of Hell are completely different. Black, lots of black. And red, different shades of red. The demons are actually quite a colourful lot, but do tend towards the darker shades. Red is a colour of passion, not just a demonic colour, although it can be associated with the demonic sinister left hand side. The main colour of Hell is actually green - the thick green light that you almost of have to swim through in the crowded halls of Hell, and examples like the green stag on Furfur's sash. It represents chaos, in competition to the rigid lawful nature of Heaven.

So while Aziraphale mostly presents a socially acceptable angelic front, its telling only Crowley has properly glimpsed that dark, shady, bit-of-a-bastard unpredictable side to him - and likes it. (More from Cobragardens about it here in 1793 Paris and 1601 at the Globe.) I mean, come on - this is a being that sent a man to his death so he could go on lunch date? A lunch date he practically concocted just so he could see Crowley. wtf? A being of love who was about to shoot the Antichrist to stop Armageddon? A being who quietly and efficiently discouraged the mafia who threatened to set the book shop on fire from ever returning? (See, told you I didn't want to meet him a dark alley...) Plus we saw him mind-control a whole roomful of people for his Jane Austen-themed ball, just to woo his beloved demon, with no thought of the possible collateral damage. I'm sorry, is this the same "guardian angel" we were all glowing over earlier?

The coat lapel as wings theory adds some weight to this hidden dark side of Aziraphale as well. Aziraphale's lapels always point downwards, towards Hell. Particularly when he has been discorporated and returned to Heaven, where frustrated about being told he has to gear up for war, he instead wonders out loud if he can return to Earth to a possess a body, reasoning that if demons can, he must be able to as well. lmoa! You are so not an angel, my dear! Yet...he isn't a demon either. He's almost...a bit of both. Two sides to a coin. A blend of light and dark. Shades of grey...although he doesn't like to admit it.

Image by lomiel

Back to the shadow-like green panel on the back of the waistcoat.

Actually, on second thoughts, I'm going to put that in Part 3.

#good omens #good omens 2 #good omens meta #aziraphale #crowley #gabriel #the colors of Heaven and Hell #lunch date in Paris #the eldritch ball #God is an eldritch horror #coat lapel theory

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ao3cassandraic · 8 months

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Angels, demons, language, and culture: part 2

(Part 1, for those interested)

"In the beginning was the Word, and the Word was with God, and the Word was God." --John 1:1, King James Bible

A better theologian than I could perhaps write a meta in which the Starmaker is the Word. I'm not prepared to go that far, honestly. I am fully prepared to say that written words, in the GOverse, are very, very important -- but curiously neither angelic nor demonic. They're human.

I mean, watching s1 I noticed that there's not a whole lot of written words in Heaven, to the point that I was wondering whether angels are even literate. There's the Quartermaster's list (which now I'm wondering about again -- we don't see whether there are words on it; perhaps it's just pictures and maybe checkboxes?), and... and... um... surely there's more... there's got to be more, right? ... huh, go figure.

Word of Gaiman says that angels mostly don't read the Bible; it's not angelic, it's human, and as such rather déclassé. In s2, we do see Gabriel's name written across his file -- but inside it? Not forms, not written documents, but video. There's an Ursula K. LeGuin line -- I think from The Telling? or maybe Four Ways to Forgiveness -- about a society that's postliterate, having left the written word behind for video, and is for that reason extra gullible. Yeah, that line sure does remind me of Heaven.

No wonder Muriel doesn't get much respect from their colleagues or reporting line. If words aren't angelic, how can respect be due to a mere scrivener?

Jimbriel can read, though his grasp on the alphabet is a bit shaky. He can't really read, though -- just as angels can speak human language but not think human thoughts. Only someone who can't quite get his head around the idea that written words convey meaning would try to organize books alphabetically by first word. (Aziraphale does understand this, of course. "But nobody would ever -- yes, fine, go ahead." I love that line. Aziraphale would hate my metadata class -- or he'd love it, just to do the opposite of every organizational principle I teach!)

Hell uses writing, but very inexpertly: the typography on its signs is (with full Doylist intent) execrable, and in s2 we learn that most demons can't spell for beans. What Hell can do with written words, apparently, is contracts, like the one Crowley has to sign for the baby Antichrist -- and after the Job minisode and its miles-long bet contract, I don't actually think contracts come from Hell in general, I think it's Satan specifically who writes them. (Maybe Satan used to be the Word. That'd be interesting. GO theologians, start your engines.)

Hell does seem to have a lot of paper around, shuffled into various overflowing cabinets and stamped at various desks. Hell even has a Lord of the Files! Even so, Furfur relies substantially on a visual display at his desk, a camera, and a surveillance video display. Most of the paper seems to be for handling former humans -- once again, written words and humans are inextricably entwined in the GOverse.

As for angelic and demonic magic, I notice a substantial absence of grimoires, chanting, or incantation, and a whole lot of picture (as we see in the Starmaker's book) and gesture. The Starmaker says "Let there be light" (and so does Aziraphale in s1), but I don't think by internal GOverse logic it'd have worked without the pull-down gesture.

All of which is to say that Aziraphale doesn't need the written word to be an angel; the written word is distinctly unangelic. Writing has to have been something he picked up from humanity, and decided he liked. It's one more thing that distances him from Heaven, as we can see in Gabriel's open contempt for Aziraphale's books, and even the well-meaning Jimbriel's instrumentalist use of books as fans and flyswatters and gravity testers.

Notably, when Nina asks to use Aziraphale's books instrumentally -- as weapons -- she rationalizes it to Aziraphale by indicating that the information in the encyclopedias will still exist online. Aziraphale accepts this! Not without pain, but he accepts it. He, unlike Jimbriel, can separate the meaning of a writing from its carrier. Hi, hello, yes, I am a librarian and I have read my Suzanne "Madame Documentation" Briet and Paul Otlet and Michael Buckland. I've even taught them. Content vs. carrier is a Whole Dang Thing in the history of librarianship. (Also, I am now headcanoning liek whoa that Aziraphale learned French to better understand Briet and Otlet. If he ever starts waffling about antelopes, I will know why.)

But that still leaves @thundercrackfic's actual questions: what exactly attracts Aziraphale to the written word? and how well does he understand it? And my additional question: what about Muriel? I'll get there. I promise! But I still need to talk about rules.

#good omens #good omens meta #aziraphale #heaven and hell #literacy #jimbriel the holy fool #the quartermaster #angel muriel

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the-meta-tron · 8 months

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Good Omens Theory: Matchbox Foreshadowing

Did anyone wonder why there was so much emphasis on this matchbox?

We know that it was later connected to Gabriel's disappearance since it's from The Resurrectionist in Edinburgh, and it's where he stored his fly from Beelzebub. The Resurrectionist, of course, was a double entendre to the body snatchers that were an essential part of Victorian medical research as well as Jesus himself. Knowing at the end of the season that Heaven is planning the Second Coming, all the references to the Resurrectionist seemed like some pretty basic foreshadowing. But I think it goes deeper than that.

THE QUOTE

Why is there a quote from the Book of Job on a matchbox from a place named after Jesus? Surely, there would have been other scripture that was more relevant to JC. No, instead we get this from the book of Job.

Job 41:19 Out of his mouth go burning lamps, and sparks of fire leap out

Upon the first watch, the first thing that immediately sprung to mind when that quote floated on screen was the last time fiery sparks leaped out of someone's mouth in Heaven. Who did that again?

Oh yeah!

Crowley, wearing Aziraphale's face.

I've always wondered exactly what the relevance of this particular quote from the Book of Job meant. After all, references to The Book Of Job were everywhere in season 2. There are some excellent metas out there as to why Job is so important to season 2, but I want to actually analyze what the scripture that's been referenced is describing.

The whole point of the Book of Job is most of it is about God's conversation with Job. Chapter 41 is titled: The Lord's Power Shown in the Leviathan. And I really don't think that is a coincidence.

The Leviathan, as described in Chapter 41 of the Book of Job... is a giant snake that breathes fire. Literally.

Basically, God is talking to Job about all of their creations, and they bring up The Leviathan as one of the most fearsome things they ever created. It's basically God saying to Job: look at my big scary sea snake that breathes fire. Do you think you can fight this big scary sea snake that breathes fire? You can't. He's so powerful. No weapons can harm him. He's stronger than anything. Everyone's terrified of him. But he's not more powerful than ME because I'm God.

So where else does the Leviathan appear in theology?

In the Book of Enoch, The Leviathan is a female giant chaos serpent that lives deep in the ocean, while her mate, Behemoth, is a male giant chaos beast (based off of a hippopotamus or water-ox) who lives in the mythical desert of Duidain, East of Eden.

In the Book of Revelations, The Leviathan is associated with The Devil (a lot of things get associated with the Devil in Christianity. Read my Crowley isn't Lucifer, But... theory for more context). It is also strongly associated with being The Serpent of Eden ("this is the dragon that was cast out of Paradise, that beguiled Eve and is permitted in this world to make sport of us" - Jerome of Stridon), aka our good friend Crowley. In the prophecy of Revelations, the Leviathan, also known as The Seven-Headed Dragon, is kind of important in the final battle between Heaven and Hell.

So, I think Crowley is The Leviathan, and he's going to have a much more important role in the Second Coming than he thinks he does.

The Resurrectionist(s).

I think Season 3 is going to be a biblical zombie apocalypse.

Let me explain.

In the Episode 2 Minisode, we see Aziraphale find out that God is going to let Satan destroy everything Job owns, including his children. Aziraphale thinks killing children is wrong, so he tries to stop Crowley from killing Job's children, only to find out, surprise! Crowley never planned to kill the children and was always scheming behind Hell's back to find a way to protect them. Aziraphle helps Crowley by working together to trick Heaven into thinking Job's old children are dead and they have new ones now, saving the children's lives.

In the Episode 3 Minisode, we see Aziraphale and Crowley get involved with a body snatcher named Elpseth. Aziraphale thinks digging up corpses for money is wrong, so he stops Elpseth from selling the body to a resurrectionist, only to find out, surprise! The medical community actually really needs these human corpses to study anatomy and potentially reduce human suffering. He tries to help Elpseth dig up another body, but Wee Morag gets shot and killed, and Crowley stops Elpseth from killing herself with Laudanum by drinking it instead and makes her agree to live a better life.

In the Episode 4 Minisode, we see Aziraphale and Crowley flirt do a little magic show together so Aziraphale can repay Crowley for saving his books by doing a West End show to cover Crowley's alcohol smuggling debts. Meanwhile, there are literal zombie nazis who have been hired by hell to try to find evidence that the two of them are working together. Aziraphale and Crowley trust each other when their miracles aren't working, and they pull off the magic trick. Backstage, when Furfur rubs the proof in their faces, Aziraphale tricks him by doing sleight-of-hand so Furfur returns to hell without proof.

In the minisodes, we see several consistent themes popping up. We see Aziraphale struggling with morality. We see Aziraphale and Crowley working together to help humanity or each other. We see them saving human lives at great personal risk. We see deception and sleight-of-hand against Heaven, Hell, and Humanity. Lastly and most importantly, we see a lot of death and resurrection. We see the not-death and not-resurrection of Job's children, the deaths of resurrectionists of Victorian Scotland, and the literal death and resurrection of the Nazi Zombies.

Outside of the minisodes, we see Crowley and Aziraphale's combined miracle be worth 25 Lazarii, aka bringing 25 people back from the dead. We see Gabriel, in his purple-eyed prophetic trance, warn of a great storm that will raise the dead. And we see Crowley bring a man who was ripped apart by demons back to life(?).

Not to mention we know Jesus, The Resurrectionist, is going to be around for season 3. And the Second Coming, aka Judgement Day, is going to happen. And the Last Judgement in Abrahamic Theology is the Day of Resurrection; it is "The Resurrection of the Dead, both Just and Unjust" (Acts 24:25); it is Life to the Dead so they may live eternally in the Kingdom to Come. (That's why, in Abrahamic Theology, the Book of Life is so important. You can see my Book of Lies theory for more on that).

The dead are going to rise. It is established that it's possible for the dead to become zombies with the nazi zombie episode. Why devote an entire minisode to the concept of zombies if it isn't important? It's foreshadowed time and time again throughout season 2.

I also anticipate that we're going to see the other themes that were present in the minisodes. I don't think anyone will be surprised if next season Aziraphael will struggle with morality. Aziraphale and Crowley are going to have to learn to communicate properly so they can work together and trust each other again (being able to do miracles of immense power together is a huge Chekov's Gun). We're going to see them do some kind of deception again to trick Heaven and Hell into thinking they're getting their way with the apocalypse when they actually aren't.

In Summary

So, in conclusion, based on that little matchbox and the wider plot of Season 2, we're going to see Crowley be the giant fire-breathing chaos serpent, aka Leviathan (literally or metaphorically), with some kind of essential role at the end of the world. And I think we're going to see a zombie apocalypse or mass resurrection of some sort. I also think we're going to see Aziraphale and Crowley have to learn to trust each other again so they can do A Big Miracle and also trick Heaven and Hell with some really clever deception.

#good omens #good omens theory #good omens meta #crowley #aziraphale #ineffable husbands #good omens spoilers #gos2 spoilers #good omens season 2 #good omens season 1 #the job episode #the grave episode #the nazi zombie episode #good omens season 3 predictions #book of life

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ratmakesfanart · 8 months

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We know that in good omens EVERYTHING is for a reason. Every prop is carefully picked out and placed, every action has importance to it, and every line is so significant that fans could write 2 seasons worth of analysis based on a few words from the show (cough cough nudge nudge). But there is one line from the final episode that has been often questioned (and cried to) by the community; those words being the horrific and heartbreaking, "I forgive you." So let's talk about it.

There is a lot that we need to unpack in order to understand the meaning behind those 3 words. First, let's look into Aziraphale's mindset. We can see throughout both seasons the struggle Aziraphale has with black-and-white thinking. How hesitant he is to work with or complete favors for Crowley because his "side wouldn't like that." In season 2's flashback with Wee Morag we see him conflicted between what was morally right and what was morally wrong when it came to the grave robbing. His thought process was and always has been good versus bad, right versus wrong, heaven versus hell. Of course, throughout the series he has shown improvement - with the help of Crowley - seeing and treading on that gray line. But the moment before the kiss we know he has regressed back into that black-and-white way of thinking due to the statement "obviously you said no to hell, you're the bad guys" and "heaven... well it's the side of truth, of light, of good."

Aziraphale believes in heaven, believes in what heaven stands for. But we also know that Aziraphale doesn't believe heaven is living up to its name nor its potential due to his consistent doubting of heaven's execution of God's plan. He doesn't think heaven is what it's supposed to be. And that brings us to the next point: Aziraphale's choice.

When we get the flashback to the conversation Aziraphale has with the Metatron, he originally says "I don't want to go back to heaven." Aziraphale wasn't on board until the Metatron mentioned how he could return Crowley back to his angelic status. This tells us that Aziraphale doesn't want to go to heaven for power, but instead so he can fix what he considers heaven's biggest mistake: casting out Crowley. He doesn't want to fix Crowley, he wants to fix heaven. He wants to make it a better place, a place that deserves to be called the side of truth, light, and good. Not for himself, but for the greater good. For Crowley. But Crowley didn't understand that. Which leads us to the final point: the kiss.

Before the kiss, Crowley heard that Aziraphale wanted to return to heaven and turn Crowley back into an angel. After decades and decades of trying to show Aziraphale that there was more to life than heaven versus hell, Crowley was indirectly slapped in the face when Aziraphale told him that he along with hell were "the bad guys." He tried to help Aziraphale realize that heaven is just as cruel as hell, but the attempts of reasoning were pointless. Crowley in that moment felt not only betrayed, but also helpless as Aziraphale showed no sign of changing his mind. In a final effort to convince him to stay, Crowley confessed his feelings for Aziraphale. But it still wasn't enough to change his mind. Finally, Crowley kissed Azriaphale... but this wasn't because he wanted to show how much he loved Aziraphale. No, this kiss was angry. Crowley knew he wasn't going to be able to change Aziraphale's mind, and overcome with emotion, he showed Aziraphale everything he was saying goodbye to. And Aziraphale understood it.

Aziraphale felt the anger and understood the message Crowley was telling him. And it hurt. Aziraphale, the angel who ate an entire ox after getting just a taste of that hunger, was shown a path with an entirely new level of desire he hadn't known he was longing for. Aziraphale wanted to hate it but he couldn't. He wanted to hate Crowley for it but he couldn't. In his mind, the right thing to do was to go to heaven, that was the right choice. But he was betrayed by Crowley's temptation of a life he knew he would always desire but wouldn't be able to choose.

Crowley hurt Aziraphale as well.

And with his decision unmoved, he met Crowley's eyes, and forgave him for it.

#good omens #good omens s2 #good omens 2 spoilers #good omens season 2 #good omens season 2 spoilers #crowley #aziraphale #aziracrow #ineffable husbands #ineffable divorce #ineffable idiots

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fellthemarvelous · 4 months

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Let's talk about Maggie and Aziraphale

Once again, I am just screenshotting my tweets and posting them here because I have more to say and Twitter's platform doesn't let me talk long enough uninterrupted.

Make way for more unhinged meta!

I cannot get this idea out of my head, and before you tell me that I'm crazy, just listen. Okay?

I think Aziraphale looks at Edinburgh as his Greatest Failure™️ because humanity and Crowley both paid the price for Aziraphale's mistake. It was a night that shook Aziraphale's confidence in himself, and it was a clear turning point for his understanding of shades of grey. He learned a valuable lesson at a horrific cost.

There is no possible way he has forgiven himself for Edinburgh.

When you are supposed to be the epitome of good, every single failure that carries any sort of weight sticks with you for the rest of your life because of the overwhelming guilt that comes with it. As someone who struggles with Catholic guilt...

Trust me. I know what I'm talking about.

Why does Maggie have a connection to a pub called the Resurrectionist, located in Edinburgh not far from the Gabriel statue in the cemetery where Wee Morag died and Crowley was sucked down into Hell? The Resurrectionist representing both Jesus Christ and Mr. Dalrymple.

Why does Aziraphale insist on taking the Bentley to Edinburgh with him?

He's scared to go back, and he's not risking Crowley's life again by bringing him along, but he takes the Bentley because it's an extension of Crowley, it makes him feel safe, and neither Heaven or Hell care for material objects and won't end up separating them again. It's a lifeline to Crowley while he's doing something without him and ensuring that Crowley won't be able to jump in and save him at the last minute if things go wrong.

He's scared to go back but he was getting extra copies of Every Day from one particular location nowhere near his bookshop before he even heard Jim singing it in the bookshop. And all of this ended up bringing him back to the statue of Gabriel where it all went wrong the first time Aziraphale and Crowley went to that cemetery together.

But I think the connection to Maggie is Elspeth. I keep going back and forth between her and Wee Morag, but Elspeth currently makes the most sense to me. I briefly wrote about the idea of lost souls and second chances here, but I'm still on the fence about it.

We don't know what Elspeth did with Aziraphale's money, but we know it was enough to turn her life around. We don't know who Maggie's great-great-grandmother is, but she has been keeping a little corner of the bookshop to "sell records" for Mr. Fell since the 1920s.

But if you look at the record art for Maggie's bookshop, some of them include all their tracks on the cover and they are telling actual stories. I've talked about Maggie's record shop before on this post. I'm still not sure what I believe, but the idea of it being Aziraphale's personal records keeps sticking with me. He's been around for a long time and there is a lot to keep up with.

Why is it so important to him that Maggie gets to dance with Nina? He told Nina he threw the ball so she would see that Maggie is in love with her, the same way he was going to use it to tell Crowley he loved him, but he was so delighted to see Maggie and Nina dance together.

And Aziraphale's love for Maggie isn't one-sided because she stays behind to help him even though she's up against something more powerful than herself. She refuses to leave him alone. She might be annoyed that he was interfering in her love life, but he's always been good to her and is probably the closest thing to family she has (we only ever see Crowley, Aziraphale and Nina talk to her).

She said she "had" brothers. Past tense. She stands up to Shax because she's no longer scared of...something. Nina tells Shax that Maggie is the bravest person she knows. Maggie comes up with the idea to spray the demons with the fire extinguishers. It might have been silly but it proves that humans are ready to fight back using whatever tools we have at our disposal.

Why didn't we know of her existence in season 1? We saw Maggie's chattering nun die onscreen. Was she one of Adam's additions to Aziraphale's bookshop? Where did she come from? Does Adam remember her face from when he was an infant? Sister Mary Loquacious (formerly) told Aziraphale and Crowley that the nuns had been very good at keeping records, but they all burned in the fire.

But Adam got a very good look at the faces of Sister Mary Loquacious and Sister Theresa Garrulous. He was an infant but he was still the son of Satan.

So is Maggie an Adam creation? Is she somehow related to Elspeth's existence? Why is she so important to Aziraphale?

#good omens #good omens meta #crowley #aziraphale #maggie and nina #elspeth and wee morag #chattering nuns

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nofomogirl · 2 months

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Before the Beginning (part 1.5.)

Part 1.1. | Part 1.2. | Part 1.3. | Part 1.4.

In this post, I'm going to wrap part 1 up and I won't lie, I'm really nervous. I feel like I've made a tall and wobbly tower of blocks and now I need to make something coherent out of it. Make all this rambling have a point.

Plus, I'll need to talk about Final Fifteen, and that's inherently nerve-wracking.

You say I've already written about it? Whole 9 posts about Metatron's manipulation, picking it apart step by step? Yes, I did. But that's the point - it was about Metatron. I skipped the worst part - the last conversation between Aziraphale and Crowley.

I couldn't avoid it forever. Let's scratch and poke at that wound.

Fair warning though: there won't be any stark revelations. I'm just processing things by writing about them.

Let's start with some facts. These are all hard canon:

Crowley used to be an angel

Aziraphale used to know him back then

They both remember it, at least partly

The Fall transformed Crowley

And these are not canonical facts, but relatively safe guesses:

They don't talk about it

Crowley avoids thinking about it

Aziraphale has no clue how Crowley feels about it

Honestly, it appears that Crowley's pre-Fall identity is more of a taboo for him than the Fall itself. Sure, the Fall is still a sore topic, and he doesn't exactly discuss it, but he is talking about it, if only a little bit, and on some occasions he even brings it up himself. But when his angelic past is mentioned he just refuses to go there. He shuts it down on the spot with no regard for the circumstances.

This exact happened in Final Fifteen, except this time Aziraphale wasn't just pointing out Crowley used to be an angel, he also suggested Crowley may become an angel.

Just look at the dialogue, especially Crowley's responses.

M: (...) it might be considered irregular, but it would certainly be within your jurisdiction to restore your friend, Crowley, to full angelic status. C: He said what? A: He said I could appoint you to be an angel. You could come back to Heaven and... and everything. Like the old times. Only even nicer. C: Right. And you told him just where he could stick it, then? A: Not at all. C: Oh, we're better than that, you're better than that, angel! You don't need them. I certainly don't need them! Look, they asked me back to Hell, I said no. I'm not rejoining their team. Neither should you.

A lot of people pointed out how they were talking past each other the whole scene, not really hearing what the other was saying. I wholeheartedly agree and I think it started right here, with Crowley refusing to acknowledge and address what Aziraphale had said and ever so subtly - most likely unconsciously - steering the conversation away from the topic and into the miscommunication storm.

I mean, just look at what happened. In slow motion.

Metatron offered Aziraphale the job of the supreme archangel.

Aziraphale said No, I don't want to.

Metatron then altered the offer and said if Aziraphale took the job, he could turn Crowley back into an angel.

Problems start here.

S3 may change my mind but right now I am convinced Aziraphale doesn't really understand what the Fall was. He doesn't understand what it was objectively, and he doesn't understand what it means to Crowley personally. This is why Metatron's offer seems so attractive to him. He sees only pros and no cons. He cannot fathom what could be undesirable about it.

Metatron, on the other hand, knows much much more. That's why he feels safe making this seemingly generous offer - he knows it will cost him nothing because Crowley won't take it. Not only that, he knows the mere mention will trigger Crowley, and make him irrational. That in turn will upset and trigger Aziraphale thus making him more vulnerable and easier to manipulate.

Back to the scene.

Aziraphale goes to Crowley and reiterates Metatron's offer to him. He tells him that if he takes it, Crowley can be an angel again.

Now this is the important part. How does Crowley respond to it?

He immediately gets angry. Not amusingly annoyed or endearingly peeved, but properly angry.

And then he goes on a rant about why he and Aziraphale shouldn't rejoin their old sides. And that's... not entirely relevant.

For quite some time I couldn't figure out why Aziraphale's "Well, obviously you said no to Hell, you're the bad guys" didn't upset me as much as it logically should. Sure, I'm Aziraphale's defender and apologist but this line is objectively unfair to Crowley. I should be disappointed and frustrated. So why would I feel like I wanted to agree with it, even though my brain clearly didn't?

Then it finally clicked. It wasn't what Aziraphale said, especially not the "you're the bad guys" part. It was about his tone. I could relate viscerally to how ridiculous he found Crowley's argument to be. Because honestly Crowley, baby, what are you talking about? What do you think you're proving to your angel here? How is the offer you were made to go back to Hell even remotely comparable?

Sure, they appear to be almost the same on the surface. Beelzebub told Crowley he could go back to Hell, and become a Duke. Metatron told Aziraphale he could go back to Heaven and become a Supreme Archangel. But that similarity disappears if - unlike Crowley - you don't conveniently take bits and pieces out of context but look at the whole thing.

Beelzebub's offer was that if Crowley helped them find Gabriel he would be allowed to go back to Hell and become a Duke. Metatron's offer was that if Aziraphale returned to Heaven and became the Supreme Archangel, he would be able to make Crowley an angel.

Rejoining his old side (with a promotion) was meant to be a prize for Crowley, but a price for Aziraphale.

Both of our ineffable spouses love Earth and given the absolute freedom of choice, they would like to live there forever. Preferably undisturbed by any supernatural institution in any way. I don't think anybody doubts that. Leaving Earth and getting involved with their former sides - no matter the rank - was the exact opposite of that, the exact opposite of what either of them wanted.

Crowley was offered that undesirable thing as a reward, so obviously he said no.

Aziraphale was offered that undesirable thing as a part of a package deal which also contained something he perceived as highly desirable, so obviously he considered it.

But Crowley reacted as if Metatron's offer was the same as Beelzebub's offer. As if it was all about Aziraphale being invited back to Heaven. He focuses on trying to convince the angel not to go, on explaining how Heaven isn't good at all, and finally on confessing and offering to run away together. He tries everything except responding to the actual offer and simply saying he doesn't want to be an angel.

I believe the main reason was what I listed among the safe guesses - that it was too difficult to talk or even think about. So he focused on the other part instead. It came easily because (a) anything that wasn't thinking about himself as an angel was great at the moment, and (b) the idea of Aziraphale leaning toward Heaven yet again was something he had strong feelings and opinions about.

Sadly, Aziraphale helped him steer the conversation away from the point with his response. The infamous "you're the bad guys. But Heaven... Well, it's the side of Truth. Of Light. Of Good."

I believe that was a point of no return beyond which the whole situation couldn't be saved. Not right then and there. Not without both of them stepping away and calming down. But somebody made sure they wouldn't be able to do it...

And the worst part is, I don't think there was all that much faith behind Aziraphale's words. I firmly believe he honestly wasn't interested in taking Metatron's offer unless Crowley went with him. But as he got unbalanced he fell into old mental grooves.

If you don't mind, I'll stop here. I neither have it in me to break apart the entire conversation (perhaps I'll face this monster one day but no promises) nor is it necessary for this series of posts.

The point of which - in case you've forgotten, which I, admittedly, made very easy for you - is that (1) Crowley was substantially transformed by the Fall, (2) he does not identify with his past angelic persona and is pretty much unable to think about himself in those terms, (3) Aziraphale severely underestimates the depth of the transformation, (4) has very little knowledge and understanding about Crowley's feelings on the entire matter, and (5) it let him to making a lot of assumptions.

Another thing I am not going to discuss here is what Aziraphale thinks he's offering Crowley. Perhaps the subject will get its turn one day. For now, suffice it to say, that what Aziraphale is offering - or rather what Metatron has offered - is most definitely NOT what Aziraphale believes it to be.

In the opening post, I pointed out that angel!Crowley didn't have any visible serpentine traits (he had brown eyes with regular round irises and he didn't have his sigil/tattoo), and I proposed a theory that it's supposed to hint at a lack of serpentine nature. That Crowley wasn't originally a snake but became one during or after the Fall.

If we look at Aziraphale's offer through these lenses, Crowley's unyielding rejection of it takes on a whole different meaning. It isn't about principles anymore or about Crowley's feelings getting hurt or his worth possibly being questioned. It isn't symbolic. It's very real.

The offer to restore Crowley to full angelic status very likely means a repetition of the Fall - a painful transformation that mangles the spirit and alters parts of a person beyond repair.

The offer to make Crowley an angel may very well mean the eradication of snake!Crowley.

I don't believe Aziraphale understands it.

Crowley couldn't bear thinking about it so he never talked about it.

Thus concludes part 1.

I am very emotionally tired.

Thank you for reading.

#good omens #good omens 2 #post series #good omens meta #crowley #aziraphale #ineffable husbands #very long post #before the beginning #final fifteen

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