#I need them to play their song again in s3 it would restore my soul

[tindove]

The presentation of music in season two, and season one, of Good Omens is so important to me. But I find it hard to put into words just how so. So instead of losing my mind trying to figure out how to do all of that, I want to express my feelings over specifically “Everyday” and “A Nightingale Sang in Berkeley Square” and how they are used.

A huge emphasis was put on music this season. And a lot of the music defied my expectations of how it would be used having listened to the soundtrack before watching the season (And honestly I think part of why GOFLB specifically was included in the soundtrack was because, not just a nod to fans, the fandom had dubbed that THEIR song— or maybe just specifically Crowleys song for them…) And before was had s2, a lot of people assumed “Everyday” would again, be Crowley and Aziraphales song. Music surrounds them of course, and very often it defines them. So I had assumed the same for “Everyday”. Bringing them closer, everyday, fast paced notions leading to love. But it wasn’t their song. It was Gabriel and Beezlebubs. That song is the demonstration of their love for each other. More important than any other demonstration of love that could have been shown. That song is the most important thing to them. It makes them happy. And represents them at their best and most caring, especially toward eachother. That song is their triumph, their peace, and their beginning.

So no. Everyday is not Crowley and Aziraphales song. Because they already have their own song. That being, “A Nightingale Sang in Berkeley Square” of course.

That song is important to them. It’s practically about them, made for them, without it actually being so. It is what played while they dined together after the near end of the world, the thing that solidified the fact they didn’t have to hide anymore. They heard it play, and decided it was theirs— or at least Crowley did— but the fact Crowley brought it up at all makes me think it’s both of theirs. He knows how important this song is to the both of them. And knows that Aziraphales knows exactly what he’s saying, and what he means by it. Then and now.

The impossible had happened, an angel and demon won together against all of heaven and hell, they stopped the apocalypse (more or less) and they lived together, and a nightingale did sing.

It’s their song. Something sweet to be an outward representation of them. And it makes what comes hurt so much fucking more. It hurts after watching Gabriel and Beelzebub sing their song together, as they go off to live their lives, just themselves— and then Crowley takes that song that is theirs. That represents their triumph. Their love. And he says that it is gone. That there is nothing left there. That that’s the point. That silence is the point, and it’s been the defining point for both of them for four unresolved years of silence.

Because that’s what it feels like, right? Contrasting this ending to the end of s1, to what they could have compared to the other angel and demon. What they’re both trying to do (though Crowleys trying to say specifically what Aziraphale wants to do) isn’t a victory. It isn’t good, it’s not truly wanted, and it isn’t that same care that led them to the ritz after the last dangerous game they played with heaven and hell. There is no ritz, there is no nightingale, there is no song.

It’s quiet. And it’s not a good quiet. Because their lives are a constant lively dance. And the dance is over. And they’ve stepped out (and then Crowley doubly steps out after the kiss, after the “I forgive you”) That silence hurts.

That moment after the almost apocalypse, I would say, is the most on page they have ever been outside of simply trying to save the world, outside of simply trying to live. That was most peaceful with (almost) nothing to hide or lie about. No danger to worry for, not yet. The danger is momentarily gone.

That music being gone highlights how wrong everything with them has been. It’s been gone. At least the music they needed wasn’t there anymore. Nothing is light, or peaceful, or perfect. Because they can’t have that impossible happiness. Because they both want different things. Their approaches are so different that it leads to this break.

And when the music does come back (it comes back strong with the kiss specifically before it dies out back to defeated suffering silence again) it isn’t a good thing then either. Because it’s already been distorted.

The song plays for Crowley as soon as he starts the car. To start his own descent, away, to where? Who knows. Just not the bookshop. Whether that was because that was the Bentleys attempt at comfort, because he had the song cued up for them both— because it’s their song as they were to head to the ritz— like he wanted, or because his emotions are fucked and the song playing was the embodiment of that hurt. it all ends with him choosing to turn it off. It states that a nightingale sang, and he rejects that. He shuts it off. Because it can’t just be his song. It’s supposed to be their song. And it’s supposed to be their song of triumph, of personal choice. Of choosing eachother. But that didn’t happen. And now it’s just him. And so he leaves in silence.

No nightingales indeed.