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ofpineapplesanddawns · 2 days

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Alien Day falls in Lesbian Visibility Week, so that means I need to write for the lesbian Crowlien au because we love monster women here. Even though this story technically takes place before Aziraphale mutates into an alien.

I just wanted to write a little soft fluff with them before shit happened. Even if there is mentioning of what happens post-alien encounter.

On with the fic!

Crowley was grinning as she crossed through the ship's halls, looking for the medical wing. She had something hidden behind her back as she slipped past an irritated looking Furfur, nearly dropping it when he almost tripped her. "Whoa! Who pissed in your cornflakes?" She sniffed, giving him a look.

Furfur looked back at her, clucking his tongue. "Just the annoying, forgetful redhead who, once again, left me doing her job!"

Crowley blinked, then considered what he meant. "You went and fixed the issue with the lights in med bay?"

"Yes. Which your... wife kept trying to get you to fix!" He spat the word 'wife' out as if it tasted terrible. God, he was never going to get over Crowley rejecting him, is he? "Apparently she'd been trying to contact you all morning, and you didn't answer any of her calls."

"Was busy with that repair job Gabe's was bitchin' about at dinner last night, the one he told me I had to do first thing in the mornin', remember?" Crowley stuck out her tongue at him. "Anyway, I need to go and see my wife about something more important than the malfunctionin' lights in the keyboard of her computer! Ta~!"

She cackled and ran to Aziraphale's office, slapping the door button, watching it slide open.

Aziraphale was inside, typing away at her computer with just her index fingers. It's amazing how much of an old lady she could be, even at her age, it was so cute. She seemed so focused on whatever she typing that she hadn't noticed Crowley or the door opening.

Crowley chuckled softly, leaning against the door frame, waiting for her wife to finally notice.

In three... two...

"Oh! Darling!" Aziraphale looked up, smiling brightly. "I didn't hear you come in!"

"Course not, too busy doin' nerdy medical stuffy, eh?"

"Hush you." Aziraphale replied, then pouted. "Where were you? I've been trying to contact your communication device all morning! Did you forget to charge it again?"

"One, no, it was charged, remember? You saw me plug it in. Two, just call it a comm, angel, no one calls it a 'communication device'." Crowley moved from the door, hearing it shut behind her, hands still kept behind her back as she approached the desk.

"And I was fixin' that thing for the captain, cause if I didn't, you know he'd hound me for it all fuckin' day."

"Ah, that is true." Aziraphale said, then glanced to the side, trying to see what Crowley was hiding. "What's that?"

Crowley grinned. "Do you know what day it is?"

Aziraphale blinked owlishly behind those little glasses she wore when reading. "Tuesday?"

"Well, yes, but the date?"

"It's August..." She glanced at her calendar, then gasped. "It's my-!"

"Happy birthday!" Crowley shouted, holding out the yellow gift bag she had been trying to keep hidden.

Aziraphale stood up, looking so excited as she walked around the desk. "Oh, you clever snake, you didn't have to get me anything!"

"Too late, got it right before we left, so I clearly can't take it back! WAAAAYYYY past the thirty day return limit!"

The doctor laughed and kissed Crowley on the cheek before taking the bag, looking inside. "Oh, oh Crowley..." She pulled out a book, one that was clearly old, but in a very well-kept condition. "Is this...?"

"A first edition copy of Persuasion? Your favorite book? It might be."

"Darling, this is just... it's too much!"

"Nothing is too much for my wife, my favorite person, my beloved angel." Crowley smiled, holding her close, kissing her neck. "Do you like?"

Aziraphale set the book and bag on her desk, then leaned into the hold, kissing her right on the lips. "I love it. I love you. You make me so happy."

Crowley kissed her on the forehead. "Good, when you're happy, I'm happy. I love you too, angel."

Crowley looked at the pages in front of her, having paused mid-sentence in her reading aloud of the book. She heard the soft sounds of Aziraphale sleeping, felt the warm, moist breath through those terrifying teeth against her shirt where her wife was resting her head.

She grabbed for the bookmark nearby, slipping it into place, then closed the book. She looked at the cover, seeing the single word of the title. It was still in good condition, minus tiny tears from where Aziraphale had tried to grab it in her clawed hands.

It bothered her to not be able to hold her precious books anymore, but Crowley was there to do that, to help her enjoy them by reading the stories aloud. Granted, Crowley didn't often like the books Aziraphale enjoyed, some of them were so gloomy, but it made her wife happy, and that's what Crowley enjoyed most.

She sighed softly, setting the book aside, looking at bone-white locks of messy hair, at a face that seemed more like a skull than the cherubic face she was used to, but she still saw her wife there, that beautiful angel she married.

Things would never be like that birthday when Aziraphale got her book, when it had been such a good day, only for things to go to shit just two weeks later.

But that was alright, Crowley still had Aziraphale, even if she was a bit different than before. Her angel was happy, even like this, and that meant Crowley was happy.

Something sweet, before all hell broke loose.

Also, yes, Crowley reads to Aziraphale now, it's so hard for her to do it herself.

Oh, I really like the idea that Furfur has feelings for Crowley, who has been married to Aziraphale for years. Sir, move on, you're never gonna get the girl. (Also, you die anyway, but still).

#good omens #ineffable wives #ineffable spouses #crowlien au #anthony j crowley #crowley #aziraphale #john's drabbles

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twilightcitysky · 9 months

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Hypothesis: Aziraphale HATES that Crowley is living in his car.

Supporting evidence:

The very first thing we see him do in the present is stop Maggie from moving out and making sure she feels welcome to stay as long as she likes.

He clearly knows Crowley’s unhappy before anything happens in the plot: “Does it calm you down?”. And also clearly feels helpless about it. Enter the conspicuous Eccles cakes: Aziraphale’s offer, which is rejected.

Crowley’s obviously, for all his hedging, spending a lot of time at the bookshop— so much that he has his own glasses perch and feels immediately comfortable removing them. See also: “Technically my bookshop but we both get plenty of use out of it”, “Why don’t you wait inside? You like waiting inside”.

It’s Crowley who immediately shoves the box of plants into Aziraphale’s arms after Aziraphale returns from Scotland.

Speaking of Scotland, why wouldn’t Aziraphale take the train? Why insist on driving the Bentley? Is it perhaps because he wants to get Crowley and his plants into the shop, and thinks if he creates a situation where Crowley has to stay there, maybe he won’t immediately leave again?

He’s got an empty bedroom and an apparently pathological need to make the person staying there very comfortable, creating cute little customized souvenirs like he’s an Air B&B host (displacement!).

He immediately jumps to having Gabriel stay with him— he didn’t have to. Arguably, both Gabriel and Aziraphale would be safer if Gabe stayed elsewhere.

That’s what I’ve got for now but I’m sure there’s more. Throughout the show, watch what Aziraphale gives to others and does for others, and it’ll tell you what he wants to do for Crowley. He’s living so deeply in displacement in makes him come across as manic and brittle.

(What probably happened is Aziraphale offered the spare bedroom and Crowley, who unconsciously didn’t want to be his roommate or sleep in a single bed with Aziraphale right downstairs because how could the poor lovesick boy cope with that, told him he wasn’t a “good deed” for Aziraphale to do and stormed off.)

Conclusion: Aziraphale asked Crowley to stay at his place, immediately and probably repeatedly. They had a row about it, and Crowley refused, and to this day Aziraphale doesn’t understand why.

And it hurts him.

#this might be the start of a longer meta about Aziraphale feeling rejected by Crowley repeatedly throughout this season #being made to feel like he’s doing the wrong thing or not good enough #they’re fracturing apart before the season even starts #all because they both fear rejection so much that Crowley preemptively rejects Aziraphale and Aziraphale is afraid to push #look at the projection and displacement and you’ll see what’s really going on #ineffable husbands #good omens #good omens meta #the awkward homeless Crowley situation #it’s absolutely manufactured and unnecessary #Crowley’s literally circling Aziraphale #and Aziraphale just wants him to come inside #good omens season two #good omens season 2 #renew good omens #just so they can finally have a talk about how Crowley is such a drama queen he lived in his car for three years

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starryemeralds · 9 months

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guys don’t worry, aziraphale is just in his zuko arc

#the way joanie and i have been screaming in dms for like an hour #but y’all—#it’s the way that he’s getting everything that he thought he ever wanted and will come to learn that it isn’t at all what he thought #im going to be the number one aziraphale protector #heaven has severely brainwashed his perception of good #he’s so naturally good-hearted but since they go against gods plan.. he thinks he must be bad #like just look at his recation after saving job’s kids!!!#for him… this offer is like someone reaffirming him ‘you are a good being. you are not evil.’#and this idea has blinded him to what crowley actually wants #throughout the season crowley has been doing good things (because that’s just who he is)#but aziraphale sees it as the angel in him basically wanting ti be free #he probably thinks that them both being angels is the best way they *can* be together #and thinking back to their conversation about loneliness.. he probably feels that he is giving crowley a community by giving him an in #with the ‘good guys’#he doesn’t realize that all crowley ever needed was just aziraphale #aziraphale has always been enough!!!!#and just..#UGH.#ITS SO CLEAR HOW HES ALREADY HAVING SECOND THOUGHTS ON THE DECISION BUT IS TRYING SO HARD TO CONVINCE HIMSELF THIS ID RIGHT #HE THINKS HE CAN FIX IT FROM THE INSIDE #PLEASE BE PATIENT WITH HIM… HES JSUT GOING THROUGH HIS ZUKO ARC #good omens spoilers #good omens

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love-has-a-way-ofgrowingbackward · 8 months

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i think we're not talking enough about how when crowley drives away in the last episode he DRIVES UNDER THE SPEED LIMIT

#crowley #rewatched the last 2 episodes again and im positive the next season will have aziraphale trying his best to thwart the second coming #from inside heaven using bureaucracy and technicalities also that metatron has got a plot significant reason for going to such lengths to #get aziraphale #maybe because they could be strong enough to stop them destroying earth if they do miracles together because they're powerful as fuck #and he wants the second coming to happen #in my head we start off with aziraphale puttering about making plans and all and its rather funny and then we switch to crowley after #sndjdjendndndndndndndwatched the last 2episoded again. watched them. again.#anyone notice how we see how they're really like when not made to be someone they're not or do something they dont want to #ughh like how aziraphale likes to always move about doing something or the other with always a Goal in mind #and is polite bur also bitchy and bossy and stubborn and crowley mostly just hangs around him and watches whatever he does #loved aziraphale in this. hated how in the last episode we see how SURE they both are that they're on the same page about how they should #be together ideally.#like. theyre so sure the other person will say yes. aziraphale already said yes to bitchatron. crowley set up the nightingale song #i think this entire thing is to have aziraphale let go of the idea that heaven is inhenrently good and better than hell #devastating but. needs to happen #anyway. cant wait for season 3. they'll probably end up staying on earth. crowley was willing to leave earth bur aziraphale wanted to stay #and fix it from within. i think the best ending wouldn't be if they ended up running away to a random planet?#it would be perfect if they stayed on earth after fighting heaven and hell along with humanity and winning the war #if they're gonna fight on the side of humanity against heaven and hell we actually need azira out of heaven. mr angel pls come back #good omens

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fuckyeahgoodomens · 2 months

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Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)

HEAVEN SENT

Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.

It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.

For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.

Aziraphale’s bookshop was a set design triumph.

Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.”

Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series Hogfather (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010).

He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”

Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop.

From start to finish

The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.

Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.”

One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.

The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.

A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.”

He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).”

The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.

Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.

Maximising minisodes

Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.

One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities.

Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.

The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”

Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures.

Inside Crowley’s treasured Bentley.

Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”

On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.”

Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.”

Shooting on the VP stage for the birth of the universe scenes in episode one.

Sky’s the limit

A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.”

Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.”

Shooting in the VR cube for the blitz scenes .

Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots.

John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.

Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”

Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.”

Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.

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amuseoffyre · 15 days

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I've been rolling around in Good Omens thoughts again and a gifset made something jump out at me.

This is where the Metatron is going to come undone. He's got the same binary thinking as Heaven. Good or bad. Heaven or hell. Coffee or death. So predictable.

It reminded me of the scene in S1 when Aziraphale is confronted by the angels and they tell him "it's time to choose a side" and this is where it gets chewy and delicious.

Aziraphale points out "there obviously has to be two sides. That's the whole point, so people can make choices. That's what being human means - choices, but that's for them. Our job as angels should be to keep all this working so they can make choices".

He's already arguing for humanity all the way through S1, which is a problem, but it's something he's done consistently. Not questioning. Very much, not questioning. Just... offering suggestions. So this isn't news. He's even made these kind of suggestions to the Metatron before, so not new.

At the end of S1, Crowley points out that he thinks the real 'big one' is coming "Heaven and Hell against humanity". Aziraphale has been sitting with that knowledge for years. He and Crowley have been dancing on the edge of disaster with Heaven and Hell turning up whenever they wanted, invading their space, demanding their time and compliance even though they are seen as rogue agents.

Everything in S2 is Aziraphale trying to maintain the veneer of everything is fine while still dealing with the terror of it all falling apart. The "or death" has been hanging over them the whole time. He saw the attempted execution. He's been told by Heaven that Crowley is under threat.

But the thing about Aziraphale is that he never ever does the predictable thing. Yes, he agreed to go back to Heaven. Yes, the Metatron leveraged Crowley's safety against him to guarantee it. The statement of "I don't want to go back to Heaven" turning around as soon as Crowley's safety is brought into it. Yes, he'll be the Archangel.

But this is the angel who gave away his flaming sword and lied to God's face. This is the angel who interfered in a bet between God and Satan to save the lives of three children. This is the angel who collaborated with a demon so they could have more down time. This is the angel who was swayed towards saving the world because he loves his life there and all his favourite foods and music and indulgences. This is the angel who flipped the bird and dive-bombed out of Heaven to possess a medium and fly a scooter to the end of the world.

Whatever the Metatron thinks he's done by separating Crowley and Aziraphale, he has no idea what he's unleashed. Crowley's bee metaphor comes to mind here. Angels are fiercely protective of Heaven but once you're inside? Well, that's another story. Aziraphale may look like a bee, but he hasn't been a bee for a long, long time. They knew it at his trial.

And Aziraphale can't say he didn't warn them:

"So you're probably thinking if he can do this, I wonder what else he can do and very, very soon, you're all going to get the chance to find out"

Heaven's got a big storm coming and they let it right in through the front door.

#good omens #good omens meta #Aziraphale

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actual-changeling · 8 months

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My own post made me think.

Let's say Aziraphale, the new supreme archangel, returns to earth and his bookshop. With some handwavey plot and explanation, he decides to stay and take it over again, but Muriel is free to stay, and they do.

Crowley has been visiting the bookshop on and off while Aziraphale was gone, and there's no reason to stop now, especially because Aziraphale said he wants to 'talk it out'. He hates that everything inside of him is screaming to be near him again, but he accepts it and does it anyway.

One step into the store, and Crowley flinches back, hard, like he's been burned.

He has been burned, he realises with growing horror, but he tries again with the same result. It feels different once Crowley scrapes together enough brain cells to pay attention to it. It no longer feels the way it did yesterday, familiar and welcoming, but searing hot and blindingly bright, like he will go up in flames if he spends more than a few minutes inside.

Aziraphale, eyes purple, gold on his cheeks, lightning hissing under his skin, stares, confused.

"You can come in, Crowley; I told you I just wanted to-"

"i can't." He grits his teeth and tries again, stumbling back when it stings even worse than before.

Crowley understands it first, eyes squeezed shut behind his shades, hands curling into fists. consecrated ground. and not just any consecrated ground, but the holiest he has ever encountered, including the fucking Vatican itself.

When Aziraphale's brows draw together in confusion, the same gentle wrinkles etched into his skin, he wants nothing more than to reach and smooth them out. Love does not leave easily; a spark of hopeful optimism always remains, no matter how hard he tries to rip it out of his chest.

"Your bookshop," he begins, his voice shaking, and when did that happen? "Your bookshop is consecrated ground your fucking supreme holiness, so no, I cannot 'come in'.

The closest thing he has to his actual heaven is torn away from him once more as he falls further and further from grace.

#alex talks good omens #good omens #ineffable husbands #crowley #aziraphale #good omens season 2 #go2 #aziracrow #crowley x aziraphale #ineffable divorce #mhhhhh i love pain #they say #grabbing their chest and dry heaving while sobbing

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vidavalor · 4 months

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Aziraphale lying to Crowley about the trick to save the photo in 1941

I love that Aziraphale made Crowley drive them home, come inside and start in on some candlelit wine before he revealed that he had the photo and then lied to him about how he saved it.

There was a miracle blocker on the theatre so Aziraphale could only have used his human magic, yes? And he doesn't have an opportunity to move from the spot he was in when Furfur arrived during the scene. We know that he slipped a flyer for The Ladies of Camelot into the envelope before handing it back to Furfur and there's no way he could have tossed the photo over his shoulder, like he claimed later to Crowley that he did. He pushed it up his sleeve. We saw him flick his wrist subtly as he handed the envelope back to Furfur. The photo was up Aziraphale's sleeve at that time. In order for Aziraphale to have swapped it with the flyer, the flyer must have already been up Aziraphale's sleeve or in his vest when Furfur came into the room.

Aziraphale lied about how he did the trick to Crowley, in part, because he didn't want to admit that he had taken a souvenir in secret to remember their night together. I wonder if Aziraphale ever did tell Crowley how he really did it... is that one reason maybe why Crowley got the angel statue from the church? Or do we think he just did that on his own and then later found out about the Ladies of Camelot flyer? At some point, they clearly stopped keeping it a secret that they like little mementos of their romance.

#ineffable husbands #good omens #crowley #aziraphale #good omens 2 #good omens meta #aziracrow #crowley x aziraphale

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melbatron5000 · 4 days

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The Big Damn Kiss

Buckle up, my fellow Good Omens Ineffable Mystery Puzzlers, Crackpotters, and Assorted Brainrotters, because I learned something HUGE yesterday.

This will be a bit of a long post, because I want to show you exactly how I got where I am. I want you to understand. I want to put all the naysayers to bed (ha! But I'm still gonna try), and settle this once and for all.

I know (almost) exactly what Crowley gave to Aziraphale during the kiss.

DO NOT TAKE ANY OF MY THEORIES TO NEIL! PLEASE!

Okay? Okay. Thanks. Shall we begin?

Ahem.

Firstly, whether you believe me or not, I am 100% certain that Crowley did, indeed, give something to Aziraphale in his mouth during The Kiss. I've covered that in the link previous. Okay? Okay.

I did not know what it was. I've now heard theories that it was a bullet (nope), a ball bearing (nope), hellfire (nope), and no one, NO ONE has suggested what I see. (If you have, hello! Talk to me!)

Here's our first foreshadowing Clue:

And here's our next foreshadowing Clue:

And the next:

And our last Clue:

With me so far? Well, that first GIF is a bit off, I couldn't find one of Crowley actually spitting out the flies. But he does. When Beelzebub first drags him to Hell, he actually goes "Pleaugh!" and spits out four or five flies.

Moving right along, we come to Crowley in Heaven with Muriel, looking at the trial. We learn two important things here:

One, Gabriel doesn't have a desk.

Two, Muriel does. Where they keep the records. And it's a bit lonely. Every few hundred years, someone comes and asks for something. Muriel can't access the sensitive ones, you have to be pretty high up. A throne, dominion, or higher. Like, maybe Supreme Archangel?

So if Gabriel doesn't have a desk, whose desk is he at when he's getting ready to leave Heaven? Of course I can't find a damn picture of Gabriel at the desk, but it's Muriel's. Where they keep the RECORDS.

Gabriel puts his memory into the fly, then gets on the elevator to go to Earth.

Now, when Gabriel opens the fly with his memories inside, we find out that it's a container. Bigger on the inside. You can put thing(S) in it. The bit we see of him remembering is shot in two parts, one where he's flying down a red tunnel, one where he's flying down a blue. If you slow this scene down and watch, you can see that he is NOT looking at just his own memories. There is more going on here, more that he was not present for. @embracing-the-ineffable put up a great meta about that here. Go look!

Now I figured Gabriel must have taken something else. Something important. Something useful. Something he meant to give to Aziraphale, except he forgot.

I also figured he must have left whatever it was in the fly when he took his memories out. Crowley must have realized while watching the trial footage that Gabriel also grabbed something else. I don't know when Crowley grabs the fly, but he does. And that is what he gives to Aziraphale in the kiss. Why? Well.

I had no idea what Gabriel took until I started working on the chiastic structure of season 2. I'm not done with that analysis yet, but let me show you one thing that I have found so far:

(The numbers are just to try and help me navigate the story and its events without time stamps)

My note #357 of what happens isn't quite right, but when I saw the only two times Aziraphale says "I forgive you" are towards the beginning of Season 2 and towards the end, I realized I had something.

Rephrase line 357: Crowley's kiss is forgiven IN EXCHANGE FOR RECORDS.

(Not that I think Crowley's kiss needs to be forgiven. It's just what Aziraphale says, and had to say at that moment, because the Metatron was listening in.)

What does Heaven in Good Omens remind us of most of all?

A big corporate entity. And what do powerful people do when they get fired from a big corporate entity? They download all their emails while they're cleaning out their desks. Damning emails. Emails that can be used to black mail or even destroy big corporate entities. Or, ya know, maybe they swipe some sensitive RECORDS?

Oh yes.

Records that Gabriel meant to give to Aziraphale, but he forgot. Records that Crowley realized Gabriel had put in the fly. The fly that Crowley grabbed once Gabriel had his memory out. The fly that he gave to Aziraphale when he kissed him. The fly that no longer held Gabriel's memory, but did still contain those damning records.

Here's Aziraphale reading the records:

Here's Aziraphale being horrified and outraged by what he's reading:

And here's Aziraphale realizing he has got some GOOD DIRT on Heaven. Maybe enough to bring them down:

That's it folks. I have no idea what the records actually say, and maybe we're not meant to know until season 3, but whatever it is, it's GOOD.

That's my story, and by God Herself, I'm sticking to it.

#good omens #good omens 2 #crowley #good omens meta #aziraphale #ineffable husbands #aziracrow #good omens analysis #good omens fan theory #ineffable mystery #aziraphale elevator #corporate heaven #the big damn kiss #the kiss #good omens muriel #good omens gabriel #good omens beelzebub

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fuckyeahisawthat · 9 months

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I was always meh on the fan theories that Crowley was some kind of high-ranking angel before the Fall, because there didn’t seem to be much evidence for it (in s1 he says “I helped build that one” about the nebula, not “I fucking hand-cranked the spacetime continuum into existence”) and because it seemed more thematically resonant for Crowley to have been Just Some Guy in the celestial hierarchy, rather than God’s Specialest Boy (gn).

But s2 does very much seem to be dropping hints that Crowley was an angel of some significant rank before the fall, possibly even a Supreme Archangel, and after the end of s2 that presents a new possibility I hadn’t thought of before.

What if Crowley knows Heaven can’t be reformed because he already tried it? What if cooptation was their strategy for Crowley, after he started asking questions but before the Fall?

It’s a classic move to neutralize challenges to a power structure. Take the people who are speaking out and say, hey, you make some good points. We hear you. In fact we’d like you to sit on this committee. Come change things from the inside, where you’ll have the power to get things done.

And lots of people in lots of real-world systems try this, genuinely believing they can make a difference and not realizing that there is no way to bend the system into what they want it to be, because the system wasn’t broken or badly led back when they first started complaining about it; it was working exactly as intended.

And these people either end up sucked into the system they were trying to change until it changes them instead. Or they end up bitter and checked out and cynical. Or, they refuse to yield in their calls for change and eventually get marginalized and pushed out of the system. Sound like someone we know?

From the beginning of s1, Crowley was adamant that Aziraphale’s attempts to find someone in Heaven who will listen to him and want to stop Armageddon are fruitless. There are no right people. I think he, like me, kind of assumed Aziraphale had figured that out by the end of the events of s1, which is part of why he’s so shocked that Aziraphale would even consider the Metatron’s offer. But Aziraphale hadn’t gotten there yet, and now Crowley is watching Aziraphale repeat the same mistakes he made, and he can’t convince him to stop.

#good omens #good omens s2 #good omens s2 spoilers #headcanons #crowley #aziraphale #crowley’s absolute horror at ‘tell me you said no’ makes me think he thought aziraphale was in a very different place than he was

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thesherrinfordfacility · 5 months

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oh my god but crowley didn't fully believe that whatever he was idly toying with confessing at the ritz was gonna work, did he? he impatiently looked at his watch, flumped into the chair after stress-tidying the shop - not because the metatron had dragged aziraphale away, but because when aziraphale eventually comes back, and crowley manages to ferry him off to the ritz, crowley wasn't yet sure whether he should say the unspoken thing. he was still weighing up the idea, was debating whether or not he should. because here's the thing - crowley hadn't cottoned on.

he hadn't worked out what the dance meant. the lingering touches. the longing glances that he thought he might have caught in the corner of his eye, but couldnt be sure. maggie and nina came to talk to him, and he was nonchalant and dismissive and brushed off what they were saying because crowley doesn't want his vulnerability seen. he wasn't even sure that a confession would actually work - so don't encourage him, because what if aziraphale doesn't feel the same way? what if giving voice to it is still too fast?

but they seem to think that aziraphale feels some kind of way about him... so maybe, actually, he should? he should say something, he should tell aziraphale how he feels, oh god he should take this spark of bravery and fan it into an inferno... because that glimmer of hope, buried within, that aziraphale won't reject him is burning a little brighter.

so he decided to take the leap, to confess then and there, because that little flicker of courage is so delicate, and it has to be coaxed into a flame, and if he doesnt do it now, he won't ever feel he can. "if i don't start talking now, i won't ever start talking". he wasn't set on confessing at the ritz, only considering that if anything was going to be said it should happen there. he went out to the bentley, after handing maggie and nina back to their reality, to put Their Song on the deck - it might help! - and then came back nervous and excited and impatient and terrified. but the girls said that they never say what they're really thinking, and what crowley's thinking is that he ought to say something, but doesn't know if he should.

but crowley took the leap, decided to just do it whilst he's still got a grasp on that conviction and bravery. and is smacked back with the shock and repulsion of being offered restoration, the heartbreak that aziraphale does reciprocate what he does, but only if he's an angel again. only if he goes back. only if only if only if. he doesn't hear what aziraphale actually means, doesnt think about what aziraphale is actually trying to say to him - that aziraphale does want him, does love him, does want to be with him, just as he is, but it can only happen if they're safe, working from the inside to change things so they can be safe - because all he can think is that maybe he shouldn't have said anything at all. took the leap, and found out all over again what it is to fall.

#good omens #idk is this anything #idk why the full scope of crowley's behaviour in the lead up to the feral domestic suddenly just hit me but it did #crowley meta #feral domestic/final fifteen meta

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nightgoodomens · 6 months

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So what if

Jesus decides he’d rather drink in the pub with Crowley instead of judging anyone.

Zombies get too busy dancing in Michael Jackson’s thriller and so find their new purpose that makes them happy.

God doesn’t even know what’s going on, too busy having dumbass fights with Satan.

Aziraphale comes back to Earth because he gets fired, Crowley wants to know why, and Aziraphale pretends it’s because he tried to thwart the big plan, but actually, it’s because he spent all his time drawing Crowley instead of doing boring paperwork. They also found him with his mouth full of cake.

Crowley knows. He laughs inside.

Metatron tries to start Armageddon but literally nobody is interested because they were invited to Beelzebub&Gabriel wedding and the preparations make Angels and Demons busy.

Aziraphale and Crowley are too busy bidding on a cottage. They don’t tell each other. So they’re bidding on the same one. So when Aziraphale wins he has to sell all the buildings he owns in Soho because Crowley bid so high, and Aziraphale failed to give up, that the cottage was sold for 10 times what it was worth.

Crowley bursts out laughing when Aziraphale takes him to see the surprise. When he explains he was the other bidder, they finally promise each other to not hide things from each other again.

They go to Beelzebub&Gabriel wedding. Angels and Demons dance together. Nobody cares. Everyone is happy. Metatron sits in the corner.

Crowley is there for alcohol. Aziraphale is there for cake. They finally recreate their dance.

Aziraphale watches Crowley who’s tipsy enough to start dancing with Beelzebub. Demons can dance. Crowley is really hot.

They take a walk outside to cool down, for different reasons, and when they sit by the lake, stars shining above them, Aziraphale pops the question.

Crowley grins. He says of course. Not in a bloody church though.

Not in a church, they agree.

God and Satan and Jesus are invited to their wedding. They get absolutely shitfaced. It’s the funniest and most loveable wedding the world has ever seen.

Honeymoon in Alpha Centauri. Also Maldives. Also everywhere where they’ve met over the 6 thousand years. This time not needing to hide or worry or pretend.

They celebrate everything.

They renovate their cottage and Aziraphale discovers Crowley is very DIY and he doesn’t mind at all seeing him dirty and sweaty without a T-shirt. Sometimes he breaks things on purpose.

Crowley knows.

Bentley has her garage. She’s very happy.

The cottage is yellow. Of course.

Christmas Tree has a star on top of it.

Their garden wins all the village awards.

Their baking is talked about by everyone.

Aziraphale has a huge library at home and he doesn’t need to worry about anyone taking his books anymore.

Crowley has plants all over the house and he doesn’t need to scream at them anymore because they’re growing beautifully from the pure love and happiness at home.

He takes care of the garden and Bentley. He buys another car and works on it as his hobby.

They join car shows.

They know all little cafes and restaurants everywhere.

Aziraphale writes his own novel. It’s really good. Crowley just ensures it definitely is talked about everywhere.

They visit Soho whenever they feel like shopping.

They always build a snowman when it snows.

And they spend evenings either on a date, on holiday, or in front of the cracking fire, within comfortable blankets and pillows, drinking, snacking, reading, watching movies and their favourite tv shows.

Everything is perfect.

#good omens #crowley #ineffable fandom #good ineffable omens #ineffable husbands #ineffable boyfriends #ineffable dumbasses #ineffable idiots #ineffable lovers #aziraphale #aziracrow

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noneorother · 7 months

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The grand unified theory of Good Omens S2, Hangs on a double meaning - Answering why .5 + .5 = 25 lazerii *The end?*

Part 1 l Part 2 l Part 3 l Part 4 l Part 5 l The end?

Welcome to the end of the Bonkers Meta Series featuring your favourite Art Director/Clue detective. This is it! I'm going to wrap up this series as well as I can with what I think really happened, the final 15 and why Crowley says the things he says. Meta, Spoilers, Beware! All that. “Armageddon only happens once, you know. They don't let you go around again until you get it right.”

If you've read my Metatron post you'll know that I thought there were *at least* two time loops with tweaks to achieve different outcomes, seeing as we seemed to be presented with two versions of events a lot of the time, two similar lines of dialogue, double meanings for lines etc etc. If you want a really good recap of a lot of the Clues that have already been compiled already you can go through them here. Yesterday I added my own : The columns in front of the bookshop get stained by a demon, and the stain stays and goes. But why do we care?

Here's my final thesis using the context I'll put together below :

The Metatron is changing the past and the present on earth using the book of life. He's forced a time loop of the last few days at least 50 times over a period of (realtime) months to get the outcome he wants : the separation of Aziraphale and Crowley to allow him to complete the second coming. It only worked once. Let me explain.

1) Not time skips, but stitched loops

My theory about the columns goes like this : a demon touches the right column in the attack on the bookshop, and dirties it. The problem is, in every episode we get multiple versions of the column that are dirtier or cleaner. Why? Because a demon has been touching that column in *more or less* the same place and getting it dirty over time, but the effects on the bookshop only layer every loop and reset, instead of being erased. The layering aspect is super important and I'll get back to it. For now, if we take it that the column gets dirtier over many loops, we now know what we are seeing : a bunch of different time loops stitched together to create a sense of time moving forward in a way that we can understand the story, but that skip forward and backward through the loops. Cleaner column = earlier loop. Here's discussion about clock hands if you want evidence, some even saying the hour hand seems to be going backwards in the first episode or the last, or even that the minute and hour hands must be backwards to make sense. If we think of time skipping ever forward and actions getting deleted (as some have said), then clocks going backwards makes no sense. But if we think about it as a time loop where things and actions are ever being tweaked and changed, then OF COURSE the times won't make sense anymore. People don't show up at the same time if they don't do the same thing they did before. The biggest time discrepancies I've seen in a single scene are A) Crowley's phone and watch being an hour apart in S2E1 and B) Inside the bookshop between Gabriel's fly flashback in S2E6 and him and Beez holding hands, there's an hour difference on the clock. I think that by the time we get to very late loops, some things are happening up to an hour later in the day. A simple example we are shown up top is the Eccles cakes. They are there in the first part of S2E1, but then they are no longer there somewhere along the way. In the first loop we see an ordering action/receiving Eccles cakes action, which takes *longer* than just not doing that and going straight to the shop, so that loop will be slightly later. It gets infinitely more complicated the more loops you are looking at, and we have at least 50 of them. How do I know that?

2) A 25 lazerii miracle

If we know that effects on the bookshop are cumulative and don't reset (because columns), then let's try this idea on for size : Aziraphale and Crowley have been performing the same half miracles on the same spot for 50+* loops, and each times they are layering and getting stronger. .5 demon + .5 angel = .5 angelic miracle x 50*ish loops = 25 lazerii miracle goes off in heaven on the latest loop. Shax then confronts Crowley in his car about a mighty miracle, so we're in a loop here where we've layered quite a lot, but not the last loop because he still has the original glasses/ *but also* Crowley's sideburns are long. Compare it to the scene directly after, and how sunny and bright it is. We're in a later loop and and earlier loop simultaneously.

3) Crowley's been testing So I've been searching for a *reason* that Crowley wears a turtleneck in S2E2 and thren new glasses and changes sideburns, and he seems to be up to some pretty crafty spy stuff, seeing as 1) he seems thrilled by it, and 2) he won't shut up about it (How will our hero cope? Jane Austen, nasty piece of work, master spy) There's also this Clue :

Crowley has a secret, as we know everyone with their hands deliberately in their pocket does in the series. I think Crowley knows before Aziraphale that something is wrong, because he's getting little snippets of memory and feeling, and so he's going off to try and change things about himself, the Bentley and the shop to remind himself in the next loop and leave himself clues or change outcomes if he fails to escape. In the early loops it seems like a fun spy mission, but by the end he's pretty tired and jaded that he doesn't seem to be making any headway on his own.

It *also* explains him throwing books and canapés on the floor in the bookshop to see if it changes in other versions. The problem being that Gabriel keeps cleaning everything up and reorganizing the titles to Crowley can't tell if it's his system or not. (lolsob)

It makes this line seem like he can't fit the loop pieces together anymore, and is trying to make headway without any information, rather than a pre-fall reference.

And this line probably much later in the loops (New sunglasses, long sideburns) :

Okay so! To recap : Everyone gets reset every time, and they make different choices because of past and present edits. But, most heavenly and hellish things don't obey earth laws, and therefore things like miracles start layering, and memories start seeping through the loops. (Point 4 is optional but absolutely hilarious, so I'd like to think it's worth speculating about)

4. The flaw in The Metatron's plan

There's a huge flaw in The Metatron's plan however, and it's that Heaven and Hell don't work like earth does. He's spent so many loops trying to get the result he wants, that he doesn't know that something crazy is *also* happening in hell. Every loop, Shax is emptying out the legions of demons until they barely have enough low level lackeys to go up at all. Hell is understaffed because no new people come into hell in the loop from earth, and they're sending all the demons that aren't subject to the reset into battle. This isn't a negotiation, it's a montage.

So the attack on the bookshop isn't one attack, but waves, and the waves get less powerful each loop. Stitched loops would also explain why Shax now hands Crowley his mail again in the last attack after *just* handing it to him on the park bench, like, 4 days ago in an earlier loop.

I don't have evidence for this directly, but if The Metatron put Maggie together with Nina successfully only in the last few loops, then she's fighting in the bookshop only a few times, and doesn't invite the demons in any other times, which might be why the only evidence is the column, and not books being ruined. But, it might also explain why the demon Eric gets discorporated a bunch of times in a row, he's doing it later and later in each loop. (These are kind of contradictory thoughts, I know.)

5. Aziraphale realizes too late. When I wrote part 4 of this series I was pretty awed by the fact that Aziraphale managed to figure out the Metatron was rewriting things after only hearing him say ONE LINE of dialogue. However after more thought, I think that he's been getting close to the truth a bunch of times by communicating with Crowley in previous loops. In each successive loop he tells Crowley later and later, and it's been getting them reset as punishment each time they figure it out together. By the end they barely communicate at all, because they can feel the danger. Watch his reaction here, in what we can assume is a *very late or last loop (because of the time on the clock)*

He stops himself from interrupting and telling Crowley something important he's just realized : that he's seen Gabriel and Beez get together before. "I know what this means..." 6. Saraqael is helping both sides without them knowing We see Saraquael helping Crowley immediately with the trial when she finds him in heaven. Why would she help Crowley without having ever met him before as a demon? The exchange of "Crowley I remember you, we worked on the Hosehead nebula together" and "I meet a lot of people, (*he doesn't say* I don't remember you)" is a code. They are both trying to communicate what they remember like spies on a bench in St.James park. Who recognizes who, who's trying to stop this madness. Maybe once Crowley gets to heaven this time he's seen multiple trials with multiple endings, and Saraquael has seen them too, I don't really know. BUT she's also communicating with Aziraphale at one point. Look at Saraqael in this scene again about the 25 lazerii miracle. She *remembers the book slap* and then the *looks* at Aziraphale in regards to Gabriel.

Yeah Gabriel, IT NEVER F*&?%ING WORKS IN ANY LOOP SO STOP DOING IT. - Saraquel, probably. Are Saraqael and Aziraphale testing later/earlier in the loops as well? Is this when the miracle was weaker? Who knows! 7. The Metatron job offer was many, many offers

It's really hard to tell with all the pieces of the puzzle moving around, but I think I can count 7 job refusal loops by Aziraphale in the last fifteen minutes. Here's a summary 1) Chinwag with Crowley in the room 2) We should go for a walk instead, here's a coffee 3) You don't have to answer immediately 4) Go tell you friend the good news (This is the important one), it's the last one where he tries to convince Crowley to come with him 5) I need to take care of my bookshop 6) The Metatron puts Muriel in charge of the bookshop, but Aziraphale wants to take something with him 7) Aziraphale straight up runs out to Crowley with "I think I-" 4, again) The Metatron takes him out of the bookshop. "Ready to start"?

Trying to screenshot all that would be insane, so just go rewatch it with all this in mind, and look at how the lighting changes inside of the bookshop and the jump cuts to different angles, and how his face resets every time. It's HEARTBREAKING. 8. The argument

I'm so blown away by the acting and writing (as well as the art direction) in this show, and it all comes to a head in the final argument. Many important lines have double meanings in series 2, because everyone is trying to speak in secret code to not get caught. Especially in the final loops.

In the last loops, we have an Aziraphale who is moving ever closer towards accepting the Metatron's offer, with the straw that broke the camel's back being he could restore Crowley as an angel**/save him; and Crowley who is moving ever farther away, by having to hide all of his Clue gathering, and confiding less and less to Aziraphale in each loop.

Check out the double meanings going on in this whole exchange if you consider that they are trying to save each other using secret codes neither one of them can hear. It's so shattering. Especially when you consider they've probably made it to this argument at least twice, and Crowley convinced him the first time. Why do I say that, you ask? 9. No Nightingales

Because I think Crowley remembers a loop where A Nightingale Sang was playing when they kissed, and Aziraphael didn't leave, but he knows they aren't in that version anymore. 10) I'm a demon, I lied. I'll probably post more abut the secondary characters because Shax, Furfur, Michael, Uriel and Nina etc all have roles to play, but for now, this is it.

----------------------------------------- Thanks so much for reading the gigantic post. If you disagree with my thoughts, or think this is terribly wrong, that's totally fine! I won't be offended. Without a real season 3, everything is just ether. Fingers crossed. I'd also like to thank The Ineffable Detective Agency, @embracing-the-ineffable, @cobragardens, @indigovigilance, @yowlthinks and more for inspiring me and feeding my brain with posts. *Loop numbers could actually be 25+ if you think that .5 demon mircales + .5 angelic miracles pour register as 1 whole miracle in heaven, I just didn't want to go into that in the main review. **The Metatron's meddling in the past seems to me trying very much to highlight to Aziraphale how *good* and righteous Crowley is, despite being a demon, in order to convince Aziraphale that joining him in heaven is a real possibility, and he should push for it.

#good omens meta #art director talks good omens #go season 2 #good omens prime #good omens season two #go meta #go2 #good omens 2 #good omens season 2 #go3 #good omens spoilers #stitchedloop #good omens season 3 predictions

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theelastword · 9 months

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*SPOILERS AHEAD*

So I’ve been seeing a lot of people talk about how big of a mistake Aziraphale made in the finale and how badly they feel for Crowley (instead of feeling bad for BOTH of them). And honestly? I don’t understand the perspective that Crowley getting his heart broken in episode 6 has to mean that Aziraphale was totally naive and wrong and that it’ll take Crowley a lot of time to forgive him, or that Aziraphale’s ending in season 2 wasn’t just as heartbreaking as Crowley’s.

Think about everything we know about Aziraphale, who has never once been power-hungry and— following season 1— no longer cares what Heaven thinks (he even told the Metratron that he didn’t want to go back to Heaven when first approached). Aziraphale only left because he sees angels like Muriel, who definitively have good in them despite everything, or even Gabriel who somehow figured out how to fall in love and find something that mattered more to him than the supposed ‘morality’ of Heaven. Aziraphale sees that spark, that potential of Heaven to be turned into what it should have always been, and he thinks that he can do it because he’s seen proof of angels who can get away from Heaven’s influence, a list that includes himself.

Not to mention THAT look he gave Metatron after he brought up the Second Coming, a look that (at least from where I’m sitting) was a definite steeling of nerves and his own way of saying “Okay, time to take this thing down from the inside”. He was NOT saying that Crowley should reform himself for Heaven, or even that they should go back because he missed Heaven. He was asking Crowley to go with him because he loves him and wants him by his side— and because he knows that Crowley has experience in being there for angels who slowly deviate from Heaven.

Aziraphale wants what he’s always wanted— to keep helping everyone he possibly can, without stopping to do what he really wants and just stay in his beloved bookshop with the love of his life. Because he never prioritizes what it is he wants when he could be helping others instead. That’s just who he is, which is what makes him so selfless and wonderful but also so sad in that he never just…lets himself be happy. And the Crowley that we all know would never hate or have lingering fury toward him for that. What Aziraphale is doing, although heartbreaking to people like me who just want the Husbands to have their little cottage in the South Downs, is actually really brave, AND just as worthy of the sympathy and heartbreak that many fans are feeling for Crowley.

EDIT: Also, as sad/problematic it may be to abandon your life and partner, it’s just as problematic to turn a blind eye to the oppression and injustice of Heaven that, by all means, you have the ability and voice to try to do something about in pursuit of prioritizing what you want. So if we’re going to be mad at Aziraphale, we have to be mad at Crowley, too (and I’ll be disappointed if hypothetical-season-3 paints the narrative that Aziraphale is the only one in the wrong here). Personally, I’m all for not being mad at anybody. I completely understand both of their choices, and I just want them to reconcile and be compassionate to what the other is going through.

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fuckyeahgoodomens · 2 months

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David and Michael interview with Emily Aslanian for TV Insider, 10.7.2023 :)

David: So Gabriel shows up at Aziraphale's bookshop naked. He's lost his memory. Where does that leave our good heroes?

Michael: Well, Aziraphale, for someone who is of a slightly nervous disposition, for a naked... his ex boss to turn up outside his bookshop in Soho in the daytime, naked and wanting a hug, is not necessarily what Aziraphale had on his bingo card that day. But once he comes in and Aziraphale has to take him in, we discover that there is a mystery to be solved.

David: Yes.

Michael: And Aziraphale enjoys a mystery, but doesn't enjoy things like the end of the world or the stakes being that high.

David: He enjoys the mystery a little too much for Crowley's like.

Michael: He does a little bit.

David: Crowley just wants this sorted and he doesn't want you indulging your fantasy of being a private eye.

Michael: That's right, Aziraphale gets to really enjoy that. But they are forced, you know, they're a team of two now anyway, because they become detached from their respective head offices. But this forces them together even more. They've only got each other to rely on and they have to solve this mystery. And the clock is ticking. So it starts a whole chain of events that starts off potentially not being as high stakes as Season One. But as it goes along, we realise the apocalypse was just the beginning.

David: It was nothing! It was a mere bagatelle! How much time passes between Series One and Series Two. Do we know exactly?

Michael: I don't know exactly. But things have changed, obviously, between... I mean, Aziraphale is thoroughly enjoying himself. He's sort of got what he wanted, which is to be able to be in his bookshop, listen to music, watch shows, eat nice meals, drink wine, hang out with Crowley. He's a little disconcerted by not having the company behind him because he's such a company man. So that's a bit strange. But Crowley is...

David: It's not worked out quite so well for Crowley. He has the liberation of being free from Hell breathing down his neck. But he has lost the company apartment. So he is living in his car now with his pot plants. So circumstances are slightly reduced for him and he can't quite let go because we see him on a park bench catching up with Miranda Richardson's character Shax, who's taken over from him, trying to dig up a bit of gossip and find out what's really going on. So they have the freedom of not being watched over. But for Crowley, it's not worked out quite as well as perhaps he imagined.

Michael: What are they looking for in each other, I wonder?

David: In each other...

Michael: Well, I mean, I think, they sort of... on the surface, the things that annoy them the most about each other are actually what they are most compelled by.

David: Crave, yes, yes.

Michael: And so they’re sort of bound together, aren’t they? In all kinds of ways. I think Aziraphale is both infuriated and maddened and very stressed out by Crowley’s constant questioning of things. Things that Aziraphale thinks are just… those are the rules. Crowley being a sort of rule breaker and a rule bender, he finds incredibly stressful. And yet I think that’s sort of what he craves.

David: Drawn to.

Michael: He’s drawn to that.

David: Irrepressibly.

Michael: Yes.

David: Yes. And I think probably Aziraphale’s very consistency and very even-temperedness is something that Crowley kind of craves as well. There’s a sort of security in that which he doesn’t really get anywhere else. But, yes, they bicker away, but clearly with the security of a couple who know they can't really exist without each other. But I don't think... they never really admit what they are to each other. There's sort of understanding that they've only really got each other now, and therefore they rely on each other hugely. And, you know, as soon as Aziraphale is in trouble, he calls up Crowley to come and help him. There's no question there's...

Michael: Someone once said, what do any of us have but our illusions? And what do we ask of anyone but that we be allowed to keep them?

David: That's... who once said that? Should I not ask you that?

Michael: Don't ask me.

David: Don't ask you that.

Michael: Let me just say that.

David: It's lovely.

Michael: And sounds clever.

David: Michael Sheen once said something about illusions. It was really nice.

Michael: Whenever you hear someone say, 'A wise man once said', it's usually me.

David: It is usually you.

#good omens #michael sheen #david tennant #david and michael #dm #tv insider #interview #michael interview #david interview #david and michael interview #ac #tv insider 2023 #good omens meta #fun fact #s2 interview #videos #transcripts #video interview

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amuseoffyre · 9 months

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I’m emotionally ruined by the fact that Aziraphale hasn’t broken out of his heavenly conditioning. He still loves doing good. He gets happy when people tell him he’s an angel and says “it’s nice to tell people about the good things you’ve done now that I’m not reporting to Heaven”. He will literally put himself in harm’s way to make sure he does the Good and Right thing.

It can’t be understated how much Heaven’s influence still impacts on him. Aziraphale has been created, ordained and conditioned to believe it and he can’t just switch it off or walk away. Crowley didn’t get the choice. He was Fallen. He was kicked out and - as per the rules of toxic and terrifying cults - Aziraphale was always told for centuries and millennia, Falling was the worst thing that could happen. If you’re bad, you’ll be forced out. If you’re bad, you’re not one of Us. You’re one of Them.

When he did something he perceived as Right (ie. saving innocent children from death), but knew it wasn’t what Heaven intended, he broke down. Crowley found him a crying, shaking wreck afterwards because he was so convinced he was Evil. He was so convinced he was going to be dragged to Hell and that he was now a demon because he did one thing that saved some children but because it wasn’t a specific directive, it was Bad.

It shapes so much about him and it’s why the whole series looks like he’s having so much fun doing silly human things, but there’s this brittleness to it. He’s happy and excited and he’s doing his human-life things and having a lovely time, but he’s also constantly stressed because of the Need To Do Good. From the moment Gabriel turns up, he’s a nervous wreck and is trying to hide it by Doing Good, by Solving the Problem, by Fixing Things, by being so active and reactive rather than letting himself think about it. It’s a sign of exactly how frantic he is that he starts giving away his books and letting humans touch them.

Watch his face when the Archangels show up unexpectedly: that isn’t joy. That’s blind terror. He’s so afraid of doing the wrong thing in Heaven’s eyes, even though he made the active choice to do so because it was the Right thing to do. He’s a Guardian and he will protect, but he is so very afraid of the repercussions, even now.

At the end of S1, Crowley said “they’re gearing up for the big one” so Aziraphale’s not oblivious. He knows a big one is coming. He knows something worse than the Antichrist will be on its way. And he’s trying so hard to pretend that everything is normal and fine and if he ignores all the looming bad stuff, it won’t happen. If we don’t say anything about it, nothing has to change.

But then the changes come knocking at his door holding a box and the choice is gone. He can keep trying to blinker himself to it, but then there are angels and demons in the bookshop and he’s had to use his halo and everything is falling apart.

So when he realises that he can get himself into a position where he can guarantee those repercussions won’t happen to Crowley? He will absolutely take it. He says himself “I don’t want to go back to Heaven”, but the instant the Metatron offers him a free pass for Crowley, to take Crowley out of both Heaven and Hell’s sightlines, to keep him safe (Another bee inside the hive, if you will), no wonder he grabs it with both hands.

The tragedy is that Crowley thinks that when they saved the world together, that was the end of Heaven’s influence in Aziraphale. When he was cast out the split between him and Heaven was sharp and clean. He doesn’t - he can’t - understand how deeply it has tangled around Aziraphale. It’s built into Aziraphale’s entire being and unravelling it isn’t that simple. Aziraphale’s trauma is a horrible, terrible Gordian knot and Crowley can’t understand that he couldn’t simply cut through it, because that’s just not how Aziraphale works.

#good omens s2 #good omens season 2 #good omens #good omens spoilers #gos2 #go s2

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