The summer that was never supposed to end

You’ve probably noticed how in Good Omens 2 Crowley’s eyes are brighter, more saturated, as if glistening with liquid gold. We’ve already covered his hair. And it’s not only the visual aspect of him — even in objectively stressful conditions, Crowley appears mature and put together, way cooler and more protective than before. Even his faults are heavily romanticized in the past and present scenes, reminding of the S1 body swap, when Aziraphale projected his love to him on the way he played the demon in Hell.

It’s not just the demon. The whole season is more vibrant, bolder, filled with sunshine. Just like a summer that was never supposed to end. Like a memory of a loved one seen through the eyes of someone who thinks of them every day until the end of the world.

S2 seems ridiculously saturated, whimsical, and full of red and gold, just like a certain demon. Aziraphale not only painted his bookshop in his image, but literally colored the whole world in Crowley’s colors. It was such lush and saturated and blooming with warmth and hazy light.

It’s either that all the newest events are just another memory seen through a certain angel’s eyes, or said angel actively made it appear this way — as in, his feelings grew so strong that they’ve started to warp the reality around him. And it’s a well-known fact that Aziraphale has a tendency to affect his surroundings, either unconsciously, when his presence in the bookshop literally lightens up the sky seen through its windows, or very much consciously, when he takes over the position of a master puppeteer and manipulates people with or without the help of his miracles.

S1 was more dramatic and apocalyptic, but not particularly gray — at least not as much as the color grading typically used in portrayal of similar apocalyptic narratives. S2, at least as seen through Aziraphale’s own La Vie En Rose lens, is vibrant and saturated. And those colors drastically fade in the heavenly light of the elevator during the credits, suggesting that they won’t be as visible in the course of S3.

But I don’t want to ramble about the apocalypse sandwich and the three-act structure here, so let’s circle back to S2.

Good Omens 2 was really set in a summer that was never supposed to end. But it did, autumn crept in, and there was no chance of hearing the nightingales sing. They all had left by the time an angel and a demon finally kissed.

In the most literal sense: the very last nightingales usually migrate from the UK to their wintering grounds in Sub-Saharan Africa in the first days of September.

Aziraphale was right that nothing lasts forever — and the passage of time on Earth is marked by subtle details invisible to the immortal eyes.

The main thing about autumn migration is how sudden and hard to predict it is. The birds start disappearing gradually, often without notice, until at some point they are no longer here. Much like the angel leaves the bookshop — their shared nest — to spread his wings and fight.

And it was basically announced on the poster.

Can you see the migratory formation of birds up in the sky? It looks like Aziraphale is the last one to get off the ground and fly.

An expert on costumes and naval uniform wanted: what does Dagon's new outfit demonstrate?

Well, my hyperfixation on Dagon is still at its peak and now i feel there are some interesting things can be seen on her new pretentious outfit. I am trying to collect all my finds here and asking you to help me explain it. Hope this meta will be replenished with your additions.

So, let's look at it closer:

Disclaimer: i am not so good at color correction so if you know better please teach me to improve images.

Obviously she has some pirate (or rather lovecraftian, which her name directly refers to) vibes, hasn't she? Lite Davy Jones. Probably that her demonic form has tentacles who knows.

First: the coat as a whole. Blue color, embrodiered lapels and cuffs, collar (i dont know how this form is called), golden epaulettes. The coat is looking like a part of British navy uniform in Regency Era (hmmm what is it about Jane Austin??) We can see similar uniform in illustrations from the book Nelson's Officers and Midshipmen. I also dont know why her epaulettes are blank.

Next: the sash. I dont know if the red color makes any sense, anyway i would like someone to expand the information.

The sash looks shabby too:

What i want to focus to is pins:

Two saber pins. I dont think they make any sense, just a reference to navy/pirates

A blurry silver pin. Thistle? If so, it looks like Royal Scottish Reserve Regiment Cap Badge. Why does Dagon wear this?

A strange blue pendant with a horseman and circular inscription. It's very unreadable, and i have no idea what this pendant (medal?) means.

Two medal ribbon bars. This is most interesting thing. I have identified the only medal from this bars: Military Medal that is awarded to other ranks of the Army and Royal Air Force for acts of bravery in the field.

Upper bar seems also very intriguing but i couldnt find any info about blue+white+red strips in the middle of ribbon.

Next: random pretty stuff. Necklace and fragment of the embrodiery on lapel. Looks like it was once a luxury golden embrodiery, but now it has severely dimmed and soaked. As if Dagon took this coat from the sea floor. She is capable of it, I believe, I can expect this of potentially oceanic archidemon.

And most likely she is wearing black dress under the coat and nails that are as blue as her makeup. Probably there is something to say about her hairstyle, but...i ran out of ideas. Hope you my brothers help me to disassemble this visual disaster.

P.S. especially thanks to @ninnikukawaii for checking my english texts. I just want to say, you're an angel (♡°▽°♡)

Part 2 is here

What if the Metatron is scared of Crowley?

The S2 brain rot is still going strong so I have to share my meta thoughts somewhere. I guess it's gonna be tumblr, isn't it? Would you like to spend a lot of time dissecting what the Metatron says with me? Okay here we go...

So the full line here is "He always wanted to go his own way. Always asking damned fool questions, too." I think the "Always" and the ",too." are doing some pretty heavy lifting in this sentence. Because we've seen him asking questions before the fall (more on that in another post) we assume The Metatron is referencing that time before. But what if he isn't? What if he's referencing this scene from the opening of S2E1 where Crowley is seemingly now having an existential crisis that is weirdly never referenced again in the season.

"But Crowley is always asking questions!" You cry. Yeah, he is. An the metatron is getting pretty f*&?ing sick of his shit. You want to watch another time he asks a question after this scene in S2E1?

Seems like Crowley is doing some mighty fine asking already this season! After finishing season 2 I really started wondering why The Metatron was interfering with our boys now? I mean, they were right there the whole time. The Metatron clearly knows where they are for years. Even though Crowley has been asking question for all time forever and clearly some part of heaven hates that, it seems like maybe these questions at this point in time might actually be very harmful to the Metatron's plans. Remember when Jimbriel says this in S2E1?

Except Jim never gives Azirapalalah anything the whole season? The matchbox stays in heaven. He doesn't give him the box either. It stays outside and must be fetched.

So when the metatron says "You're a leader, you're honest, you dont just tell people what they want to hear. It's why Gabriel came to you in the first place, I imagine." I think we can surmise that Gabriel was trying to come to Aziraphael to give him something important, but it never happened (OR DID IT? That's for another post...). So if The Metatron is breathing a huge sigh of relief here because he thinks he's confirmed Gabriel didn't give Aziraphael anything, the last thing he needs to do is separate the really good question asker from his will to ask any more good questions.

"But how does the metatron know Gabriel didn't give him anything? What does he have like a stupid spy camera or something inside the bookshop?" Guys the art direction in this show in bonkers, I'm telling you.

OH LOOK. A WHITE GIANT FLOATING HEAD IN ALL THEIR CONVERSATIONS IN THE BOOKSHOP.

So my reading of the original line is something like : "Crowley wanted to not follow heaven, which caused him to fall with the guys. But also I've been watching him do reckless and annoying question asking right now. And that's currently ruining my plans and I've had enough. Get that idiot away from the bookshop."

At this point (this point being about 15 rewatchs of S2E6), I feel like Aziraphale had two alternative plans going into his last conversation with Crowley and he had to conduct that conversation in a way that would only allow for either plan A or plan B to work, nothing in between. Like, he needed to be persuasive enough to stand even the smallest chance to convince Crowley to go back to Heaven with him. He also had to say things hurtful enough to make sure, if plan A did not work (which, knowing Crowley, was quite likely), he would push Crowley away far enough to make sure Crowley would not try to save him again, which could be dangerous for either one or both of them. This is not to say that Aziraphale necessarily had a great masterplan or that everything he said was calculated in some way, but for me, this is kind of the situation I see when I watch the Final 15 at the moment.

That End Credits Smile

This is just a brief note about Aziraphale's smile in the elevator during the end credits, you know -- this one:

Many fans call it "creepy" or at least unsettling, but I think a HUGE part of that feeling stems from the very odd lighting in that shot. If you pop this into a photo editor and adjust for a more natural light, you get:

Which I find less unsettling, and perhaps even more along the lines of "I am going to fix things, both Up There, and with Crowley."

Or at least, I sure hope that's what he's thinking!

The thing is. I think Aziraphale does know Crowley quite well, but he's also coming at Heaven from a very different perspective than Crowley.

That is, he's seen over the centuries how hurt Crowley was by being cast out. He knows the Crowley that clung to his chair and cried in despair, "all I ever did was ask questions!" He knows that Crowley refuses to be called nice or good not because he isn't those things, but because they weren't enough for Heaven. And Aziraphale knows that Heaven was wrong about that! Crowley has always been good and he has always been enough.

So he comes to Crowley with what he believes is a gift in hand, saying "see? I have always known you were good and nice and enough, and now I can prove it! Heaven is broken and that's why they cast you out, but now we can fix it all!"

But Aziraphale, while he may never have quite fit with the other angels, was truly cast out only a couple of years ago. Crowley, on the other hand, was cast out eons ago. He has lived with the grief of that for a long, long time. He has accepted it, if not fully moved past it. And he has seen it for what it is in a way Aziraphale has not had time to process.

Crowley has been a part of Hell when Aziraphale has not and has seen how not-different the two sides are firsthand. They're both toxic, authoritarian beaurocracies that don't care about each other or creation itself. (Or even their supreme leaders, really. Both God and Satan make scant appearances throughout the series, and I don't think this is incidental at all.)

At the end of last season, Aziraphale saw that the demons were going to destroy Crowley and wasn't all that surprised. But Crowley realized the angels were going to destroy Aziraphale and how callous Gabriel in particular was about it, and he was shocked, angered, saddened. All the time Aziraphale had spent defending them, saying they were really the good ones, and this is how they treated him! Crowley saw that, and he never forgot it...and he never told Aziraphale about it.

It's also hinted, several times throughout the show and especially in season two, that Crowley was VERY high up when he was an angel. It's hard to say how high up given we don't know which, if any, prior hierarchy of angels is being used (though I can guess). But he was shown to have had access to some of Heavens greatest secrets with no more than a flick of the wrist.

And if he was higher up than Aziraphale (almost certainly), he saw more of the inner workings of Heaven's high command. He knows how thorough the corruption and authoritarianism of Heaven extends. He knows, deep down, that he never did anything wrong. He knows he was cast out just for being who he was.

So when Aziraphale comes to him with this offer, it doesn't feel like a gift at all. It's his one friend, his closest friend, the person he loves above all others, saying "I can make you good enough! YOU are broken and that's why they cast you out, but now I can finally fix you!"

And they both walk away heartbroken.

Recently I've been thinking about something: Aziraphale tries to do good while Crowley tries to not do bad.

Aziraphale activelly tries to make the world a better place, take care of ppl (and amnesiac archangels) and refuses to leave even when that poses great danger to him. But he's often misguided in his attempts because he fails to see the complexity of the situation, like with Wee Morag. He's preppared to make tough call and chose the lesser evil, like trying to kill Adam for the sake of the world (another thing he did without the necessary information). We see with the nonconsentual ball he meddles with the humans too much and tramples over their free will.

Crowley, on the other hand, tries not to do bad. His goal isn't to lessen the amount of evil, he will just try not to carry out Hell's shemes when it happens that he was supposed to do something he disagrees with. It's logical given his status as a demon (just like it's logical for Aziraphale to do the kind of good Heaven could accept).

But the bad happens regardless. Humans invent horrors beyond his imagination daily, evil won't end just because there isn't anybody tempting them to be greedy or prideful. Something needs to be done.

And this different attitudes are also a big part of what happens in the final 15. For Aziraphale doing nothing if he can possibly make a difference isn't an option. And we all know that doing anything worthwhile is practically impossible to do alone. So, coupled with Metatrons thinly vailed threats, the chance to change things ofcourse convinces Aziraphale to accept. For Crowley for whom doing nothing has long been the best most moral option and who hates Heaven for rejecting him going back is also logically not an option.

Aziraphale, yes, has to learn nuance, and we see him do that (even tho some of the lessons feel too late in the series to me. The final convo they have in the victorian flashback was in the book at the very start of the Arrangement). But Crowley has to learn to meddle more, has to learn that as Terry puts it in Guards! Guards! "They accept evil not because they say yes, but because they don't say no". And we also see some of that with how Crowley now openly (and without Aziraphale's prompting like with Jim) cares about ducks and how he saved that guy from being thorn apart by demons.

Aziraphale and Cowley have equal opposite issues and I for one think that is beautiful (and also the point).

If someone has dug into this blue car situation, please point me at it. Until then, have a handful of screen caps

Why are there so many blue cars? This cap is from S01, and this car (or one of it's twins) is driving around Whickber and the adjacent streets in pretty much every street scene

This is capped from S02E03 at the start when Jim is looking out the window drinking his hot choccy. In the lower right, there's a blue car that's turning down the same street it did in E01. I haven't checked the time-stamps but I am very suspicious.

Look behind Ms. Sandwich to the right of the picture and at the out-of-focus background. It's over-exposed but that's the Blue car.

Same conversation, about later, just as the one blue car goes out of frame... look behind Ms. Sandwich to the left. Blue car. comes into. frame. I have questions

Same conversation they notice Muriel showing up in their anachronistic inspector constable fit...and there's a blue car. This time you can even kind of see the driver

That's a lot of identical blue cars

I reblog quite a lot of fan theories and metas about s2, many of them contradictory, so I I feel I should probably explain my perspective on them.

When I reblog something, it's not necessarily because I believe it to be true, or even because I think it's is particularly plausible. Sometimes it is, but far from always—I've reblogged many things that I don't believe to be 'true' in the slightest. What I do reblog are things that I find interesting, and that tickle my understanding of the story in enticing ways. I'm not looking for any Ultimate Theory to Explain Everything, I'm an explorer on the seven seas collecing my favourite sketches of all the mythical creatures that other sailors have spotted in the deep.

Yo-ho-ho everyone :)

on elevators, pride, and alpha centauri

you know, the funny thing is that the ending of s2 really reminds me of the lead up to the ending of s1 with the "we could go to alpha centaurii!" and I really think it's not a coincidence it's mentioned again

and that final scene: there's the Car, and the Choice, and we've seen it all before. Aziraphale always makes the Choice, but Crowley is always Scared. But even if Crowley hates it, even if Crowley would really rather run away to somewhere safe, even if they fight over it, Aziraphale always makes the Choice, hoping, *believing* that Crowley will follow. they've always both known each other to do the Right thing. Aziraphale knows they'll both only be at peace if they do it. And Aziraphale is really so precious to Crowley after all. So Crowley always puts up a wild fit, but he always follows.

And as with the not-Armageddon, so with the elevator. They can't know if they might change anything if they don't at least *try*. Crowley's reluctantly followed him so many times before. Why wouldn't he follow one more time?

When Aziraphale takes the elevator, he doesn't take it in the spirit of betraying Crowley.

He takes it out of hope and trust.

We all know Aziraphale isn't as naïve and daydreamy as he comes off. He's always voiced his doubts when heaven does some stupid shit, just like Crowley. In fact, Aziraphale was far more clear-headed about the workings of Heaven. He always had the same doubts as Crowley, but he was more tactful about it. He was willing to endure the humiliation of begging for scraps of answers, and being ridiculed by the Archangels, but Crowley couldn't. He's managed to stay in heaven all these years, whereas Crowley Fell.

The doubts didn't doom Aziraphale. the Metatron even said they valued his honesty, and gave him a position as archangel. The doubts didn't doom Crowley. But Crowley's pride did.

The elevator was never really a test for Aziraphale. He's made the Choice before, and he will again. But will Crowley? Will Crowley put down his pride, his fear of divine retribution, his grudge against heaven, in order to *try*? Is he willing to let go of his grudge against God, to have a chance at protecting the Earth that he loves so much?

When Aziraphale steps into the elevator, he isn't picking Heaven over Crowley. He's waiting for Crowley, begging him to put down his pride, do the right thing, and come home.

He's hoping Crowley will follow.

Have you noticed how Crowley’s main objective this season is basically running to the rescue and saving others? First and foremost Aziraphale, obviously, but also Jim — both from the official manhunt and from himself, like in the window jump scene — and multiple humans.

Crowley started off as an angel willing to question the highest — and only — authority in order to save not only his newest creations, but the whole vast, beautiful universe from the unjustified and untimely destruction.

Crowley was the one who stopped Sitis from cursing God — even when her own husband and a literal flock of angels stood in silence. Not to mention saving the kids of two species from a Heaven-sanctioned death sentence.

Crowley was the one who self-sacrificed in order to drive away Elspeth from suicide and make sure that she’ll be taken care of for the rest of her life, effectively minimizing her struggles.

Crowley was the one who saved Nina and Maggie from the demons appearing on Whickber Street at dusk and directed them to follow the light of their bookshop, a safe harbor by design and by choice.

Crowley was the one who also made up a nonexistent rule to safely evacuate almost all of the humans out of what started as a monthly Whickber Street Shopkeepers and Street Traders Association meeting and ended up as a literal war zone.

Literally in every episode of S2 Crowley is showing a consistent pattern that‘s not only painfully in-character for him, but also more than common among human trauma survivors and those struggling with mental health issues.

According to research, doing nice things for people and focusing on the needs of others may actually help those with depression and anxiety feel better about themselves. They’re basically offering others the same kind of help they need or needed in the past.

By saving all of those people, Crowley is not only extremely kind as the angel he used to be, but also subconsciously processing his past mistakes and traumas. He becomes a protector of the oppressed and guardian of the weak, taking under his wings those he deeply identifies with.

The fallen angel who asked too many questions, who hanged with the wrong crowd, who got rejected by his peers, who cursed God, who went through what seems like panic attacks, depressive episodes, and contemplated suicide by Holy Water, who understands love… became a patron saint.

Like Saint Anthony is a patron of lost things, Anthony J. Crowley is a patron of the seemingly lost cases. But remember that this level of heroic sanctity in life can also lead to martyrdom or heresy later on — a saint is supposed to intercede, not act on their own like God does.

Well, what I want to say about "you're the bad guys".

I dont want to justify Azi, he says many uhm...STRANGE words, but. How many times Crowley went mad when he heard something good. Like reeeeee shut up I am not nice, not good, not kind etc. Okay you want to be called bad guy, so Hell and YOU are the bad guys, what's a problem? I don't think Crowley was offended by "bad guys".

And, btw. I think you all know how irritating are words "I understand X better then you do". I am wise, I understand better, and you are being silly angel now, stop it. In s1 Crowley received iforgiveyou in reaction to this.

There is no right and wrong and no one should apologize. Azi fought against the demon, Crowley entered the Heaven, they both was stressed and exhausted. This is really such a situation when you are trying to do best but its still not enough. So much mistakes - actually, i can't even call it a mistake. And so much love. To each other, to earth, to Brielzebub, to everything. They didn't deserve this. But i mean that Crowley defenders give too much importance to every Azi's word.

aziraphale is a centrist who saw metatron's offer as the perfect way to get everything he wanted: returned status (among angels who mock him) & protection (from demons who see him as the reason Crowley turned), Crowley (subordinate to him, and an angel again, so Az doesn't have to question Heaven/his own morals anymore)

meanwhile Crowley is a marginalized person who thought he had a life partner who would choose him over the status quo, only to discover that was not the case and the christian hegemony will always protect itself first.

also aziraphale is just. not a good partner tbh. he never listens to Crowley, things always have to go his way, and he stomps all over Crowley's 'no's repeatedly while dragging him along for misadventures. (and Crowley goes along with it because love)

Parallels between Lord Jim and Good Omens (2)

I have rewatched GO2 at least 10 times now (still counting, obvsly), and every time I notice new easter eggs that emerge from the massive web of intertextuality that Neil Gaiman created for us here.

So today, I wanted to focus on the way Aziraphale came up with the “undercover” name “Jim” for Gabriel. He read it on the spine of a book: Lord Jim.

That book was written by Joseph Conrad (a Polish-British writer with dubious ideas about colonialism) and published in 1900. The plot basically follows the life of a young idealistic seaman called Jim who has to defend himself in a trial that concerns a sinking ship which he and other members of the crew abandoned in a storm, leaving it and the helpless passengers to their fate. The ship did not sink in the end, and he was the only member of the crew who was held accountable for his deeds by stripping him off his naval certificate. The trial is where he meets the narrator of the story, Marlow, who is strangely intrigued by the young man, who seems to be engulfed by guilt and shame over his morally wrong decision to leave the boat. The narrator tries to help Jim to his feet and lands him a job as a post manager at some remote colonial outpost. There he becomes a hero by capturing a local bandit. Later he falls victim to a scheme against him, and a pirate raids a neighbouring community and kills the son of their chief, Jim’s close friend. Jim then goes there, and the chief shoots him as a revenge for his son.

I mean, the most obvious parallel is that Gabriel gets named after Jim. He, too, abandoned his ship (Heaven; and the question here is, did he know it might be a sinking ship as well?) and was put on trial and lost his position as archangel before he came to Aziraphale for help. But that’s not all there is to it.

Let us start with the formal (concerning style and structure) aspects:

narrative structure:

“Marlow has complete control over the story … and he exercises his power in increasingly complicated ways. Time is broken up: in a single paragraph of narration, Marlow will reference the past, the present, and the future. By manipulating the flow of the narrative, Marlow is able to create juxtapositions and contrasts that highlight particular aspects of the story. He is a master at withholding information …” (Source: Sparknotes)

As I have already discussed in another post, this is more or less how narrative structure works in GO, too (S2 maybe more than S1, but this still applies to both). We get minisodes from the past that directly reference and juxtapose situations in the story that takes place in the present. Take, for example, the Job minisode, which gives us information about the development of Crowley and Aziraphale’s relationship, but we also see how devastating and hard it was for Aziraphale to realise that sometimes he had to lie (or do something considered wrong in heaven) to do the morally right thing. This sequence is juxtaposed with the relative ease he exhibits in the present day when he has to lie to heaven on a regular basis (in this case, about the miracle and hiding Gabriel, which is kind of a big lie, too). The show also plays with our understanding and expectations of how time works, as S2 starts with a scene that takes place “before the beginning,” which undermines dramatic structure as it has been known and accepted since Aristotle. It is also interesting to note that in S1, we have a strong sense of an almighty narrator, since god herself is narrating the whole time and she sure lets us know that she is playing her own ineffable game here. In S2, however, we don’t have a clear narrative voice. This might make it seem like the narration is more neutral or less meddled with, but in reality, it just makes things even less reliable and situations more ambiguous, as we have no single voice to interpret them for us. Someone is definitely “withholding information” here, and I guess we’ll have to wait for S3 to get the full picture.

language/style:

“Marlow constantly ponders the "message"--the meaning of Jim's story. His language is dense with terms like "inscrutable" and "inexplicable," words that denote imprecision and indecipherability, but which also possess a certain quality of uncertainty in themselves, as words. He struggles to name things, and is often reduced to wondering if there even is a meaning to Jim's story and his fascination with it. Sometimes he concludes that the meaning is an "enigma"; sometimes he decides there is no meaning to be found at all. Words are constantly being contested in this novel; at least three major episodes center around the misinterpretation of a single spoken word.” (Source: Sparknotes)

I mean, “inscrutable” and “inexplicable”? Why not just call it “ineffable”? I also love how Crowley seems to wonder about the meaning of things (especially the distinction between “good” and “bad”), as one of the first things we here him say in S2 is something like: “Do you ever ask yourself what’s the point. I mean angels, demons, heaven, hell … it all seems a bit … point … less.” And obviously, the whole show is full of misinterpretations of words (e.g., “what does your exactly mean, exactly? I feel like my exactly and your exactly are different exactlies”), or, as we are all painfully aware, a whole way of communicating with one another (“aim for my mouth, but shoot past my ear”).

Now for some similarities concerning informal (aka content) aspects:

moral balance and “naïve heroism”:

“Even more tortured is the analysis of idealism and heroism that lies at the center of Lord Jim. Jim is a young man who enters the world motivated primarily by fantasies of daring and noble deeds lifted from cheap novels. His ideals break down, however, in the face of real danger; they are, in fact, untenable when applied to any form of reality.” (Source: Sparnotes)

That sounds like both Crowley and Aziraphale in a way. They both set out as naïve idealists, and both of them learn (Crowley earlier and faster that Aziraphale) that their (heavenly) ideals do not hold in the complex reality of life. A lot of what we see in S2 is Aziraphale coming to terms with accepting that doing the “right thing” on earth often involves breaking his heavenly rules and allowing for “shades of grey.”

struggling to comprehend own identity and moral consequences of own actions:

Both the narrator, Marlow, and the protagonist of his tale, Jim, are trying to figure out their identity. Marlow seems to tell the story mainly to kind of make sense of identity itself but also of him personally, while Jim tries to make amends for his morally wrong behaviour and tries to manifest his identity (as a hero) through action.

In GO2, we have a lot of identity struggles and questions of “who am I?”: Jim the amnesiac angel is the most blatantly obvious case, but we also have Aziraphale negotiating his identity constantly, e.g., in the Job episode when he asks “Then what am I?” after having lied to heaven for the first time . And I mean Crowley is just on another level of liminal identity entirely, isn’t he?

As a bonus (and I am probably going overboard here, but well), this is the description of Jim’s death:

“Then with his hand over his lips he fell forward, dead.”

  The imagery reminds me of something…ahhh yes:

Feel free to add your thoughts in the tags or comments!

“their miracle was so big bc crowley used to be an archangel” have u considered that aziraphale and crowley love each other so much that their love alone could move the tides just by staring at the ocean for too long. have u considered that they did the miracle not really to protect gabriel but to protect what they had, what they’d built with each other. and that was them barely even trying

The products of trying to recreate what was going on outside the frame during the kiss. (for ENTIRELY SCIENTIFIC purposes)

@actual-changeling altered my whole outlook on life with this post about Aziraphale's left hand (I'd only been looking at his right hand) and I couldn't stop thinking about it, so I painted the rest of the fucking owl (and his bf).

so normal about this