#and so did good omens 2 i think

[alternativesaga]

I might start rambling today sorry in advance

[sherlock-is-ace]

I'm still not over the fact that in the book, Aziraphale and Crowley are supposed to look 30 and 24 years old...

This is what they would look like

That's David in 1995 in The Bill and Michael in 1997 (not quite 99 like it's supposed to be) in Wilde.

Those are children! Mere babies!

[fearandhatred]

in every lifetime

happy good omens season 2 anniversary everyone <3

full comic and more under the cut

here are the existing panels i have posted: panels 1, 2, 5, 6, 8, and 9 of panel 2. i probably won't post the rest because i did them really fast (like 4 of them today) so they're not great lmaooo just don't zoom in. honestly just so gobsmacked that i actually managed to finish this i need to go celebrate

and this drawing was inspired by the greatest comic ever created:

[p4nishers]

there's something i need to say and yall can boo me for it but deep in my heart i'll always know i'm correct: crowley already forgave aziraphale. like already would take him back at one flutter of his eyelashes. that's all.

[otsanda]

So @sayuri-of-the-valley and I were talking about the music in Good Omens 2 and particularly the similarities and differences in the music that happens 'Before the Beginning' (that's the song title) and at The Kiss (that's not the song title) and I have accidentally developed Theories and had Thoughts, so I’m gonna share them in case anyone else wants to weigh in.

First of all, the general musical structure is similar. They are both dramatic moments that start quietly, grow to a powerful crescendo at the Big Moment, and then resolve more quietly again, but with subtle changes that make them feel very different. Without actually going through and checking it, they sound to be at roughly the same tempo (around 140 BPM) and comparable time signatures.

Now, I'm treating these two dramatic moments and the surrounding music as two songs, although in the soundtrack the music surrounding The Kiss is actually divided into two songs itself: I Forgive You and Don't Bother, so that's. Fine. I'm normal about that. I'm sure dividing that in half doesn't Mean Anything at all. I'm NORMAL about it!!! Ah... anyways.

The instrumentation for both Before the Beginning and The Kiss is also very similar. Both songs start with orchestral winds and strings and add a powerful choral part (on the same pure round vowel sound, no less!) on the big crescendo. Both add orchestral chimes (bells) for that epic religious feel. Both the nebula creation and the kiss were a revelation. Something like a religious experience.

And then both songs resolve featuring wind and strings again, among other instruments. The "after" part of both songs also features more pitched percussion (harp, maybe a celesta, glockenspiel, possibly a dulcimer or some other fun, ethereal pitched percussion in Before the Beginning, but interestingly a piano in Don't Bother). Ouch. That hurts.

Now, to me: the piano is possibly representing the nightingale, Crowley and Aziraphale's love of Earth and humanity, whereas the glockenspiel and etc. may be more representative of heaven. Just a guess. I would have to do more careful listening for a more solid theory.

I don’t have perfect pitch so it’s hard to tell without getting out my instruments or transcribing the piece, but I’m willing to bet ‘I Forgive You’ is in the relative minor key to Before the Beginning’s mostly major key (I *think* ‘Before the Beginning’ might be mostly in the key of C major and ‘I Forgive You’ in A minor, but I could be wrong). Regardless, the former is major and the latter is more minor, but otherwise a lot of the chord structures, especially at the big moment, sound very similar.

More on instrumentation: ‘Before the Beginning’ uses more (ethereal?) flutes in the wind sections and The Kiss uses more reed-based, (earthy?) winds like clarinet, bassoon, oboe, etc. Different feel, but the same kind of structure. Both moments heavily feature a big string section for the nice full orchestral sound.

Before the Beginning has a lot going on musically before the crescendo and it intentionally feels kind of chaotic and unformed bc each instrument family is doing something a little different, building anticipation, etc. and then at the big crescendo, they all come together. Very powerful. Then after the crescendo, we get a subtle, playful reprise/variation of the Good Omens Main Theme. The strings and the winds are no longer entirely together at this point. They’re sort of playing off one another, leaving space. Having a conversation.

By comparison, in ‘I Forgive You’ the wind/strings start off playing together, in a sad version of unison before the crescendo (they both knew the conversation they were having wasn’t going to end well but they fundamentally *understand* one another now; they’ve been talking for millions of years). And AFTER the crescendo of The Kiss, the song ‘Don’t Bother’ DROPS the majority of the string section and gives the melody to a solo violin (alone!!!!). Even worse (better) the strings and the woodwinds and pitched percussion are no longer playing together. This time, they aren’t even having a conversation. They’re musically doing a separate lines. It feels extremely lonely (because it is). The violin is very exposed. The piano is very exposed. Even the chorus sounds exposed (smaller group of singers?). This ALSO includes a reprise/variation on the main GO theme, but instead of being playful it’s extremely sad (as though you didn't notice). The rest of the orchestra is still there, providing background, but it's not the same.

The Biggest Decision (the song after Don't Bother) has a lot more of those ethereally coded instruments again. Harp, pitched percussion. Full string section. Angelic chorus. Aziraphale is making the hardest/worst decision to return to heaven.

And to round it out, once we get to "The End?" we are back to piano. Our duo is separated. Now in place of the solo violin we have solo cello and piano. Gutting. We get notes of the ethereal celesta (I think). The piano keeps us grounded, but cello is a big focus. We also get more of that haunting chorus and violin runs. And then we end with solo piano playing the same 5-note run three times. Alone. After every other instrument has dropped out. Very lonely.

Just for fun, (and to end on a slightly more positive note), I went back and listened to the ox rib music as well, which was surprisingly consistent with some of my theories from up above and also not on the soundtrack so although I'm sure it has a name, I certainly don't know it.

In the ox rib section, there are more instruments before the first big moment (when Aziraphale tries the food) that are going back and forth. Again it sounds to me like they’re having a conversation… tempting and being tempted. Winds and strings (strings are tremoloing like at the kiss for that sweet, sweet tension), but also brass instruments. We have some more ethereal sounding pitched percussion, especially *before* he tries the food but afterwards it... switches to piano! Like I said: Earth!!!

The choir is on a different vowel altogether for this part (more aggressive and ominous, a taller Ah instead of a round Oh/Aw like the first two musical moments). The choir is also much more rhythmic. Again, increasing tension. And, of course, after he tries the food the music supports the tension of the scene by gradually building, getting louder and bigger after the key moment has already passed. It's super interesting that Aziraphale trying the food is actually quite quiet, but the music grows quickly afterwards. Sort of the inverse of how the other two scenes play out musically! Fascinating!!

Anyways, let me know what you think I got wrong and what I missed and if I thought something was a celesta when it was actually a glockenspiel or something. I am thrilled and devastated by this incredible music.

[cptn-jtk]

good omens fans: "the gays are winning!"

the gays:

[bloodymarymorstan]

OMG I just realized.... Crowley's always the one telling Aziraphale that he shouldn't trust Heaven and that he's naïve for not seeing how bad they are, etc. but in the s2 opening scene it's the exact opposite! Crowley's not trying to be rebellious, he just wants to ask a few harmless questions and the reason he feels like he can do that is because he TRUSTS that God won't hurt him. He actually starts out believing in the goodness of God more than Aziraphale does, and Aziraphale is the realist telling him to stay away from Her so he doesn't get himself into trouble. Crowley was actually more innocent than any of them, and the betrayal of being cast out just for wanting to help make things better traumatized him so much that now he can't ever trust anyone again.

[blazeturbo102]

Oh, I was wrong, my parents still think Crowley and Aziraphale are just buddies🙃(they've just started S2)

I'm literally dying to see them get to the last episode, I'll just be there watching their reactions like

[lesbianballofgender]

Manifesting Crowley initiating physical touch in season 3

Crowley just sauntering over to Azi while he’s deep in convo with someone like normal only now he gently grabs a hold of his hand. A natural touch that doesn’t cause Azira to stop his chattering, an unspoken closeness between them. After all they ‘like holding hands’.

[tonydaddingham]

✨THOSE CROSSED LEGGIES✨

[nehardeia]

The other week I was at lunch with some friends who have a very adorable toddler and I suddenly realized what Aziraphale reminded me of in the scene where he tries the ox ribs. His face and his reactions are exactly those of a baby trying food for the first time. People have used many metaphors and descriptions of his expression and response but that’s the one that really jumps out at me.

There’s that moment where the baby clearly has no clue what is happening in their mouth, a reminder to onlookers that eating involves a really weird set of sensations that we tend not to think about once we’ve been doing it for a while. Then they adjust enough to actually pay attention to the taste and texture, and if it’s good their face absolutely lights up.

That’s what we see in Aziraphale’s expression- instinctive disgust at the weirdness of how it feels until he processes the actual sensations, and then he is sold. The sudden shift from repulsion to confusion to surprise shifting to a very clear “more”…to me it couldn’t be any clearer.

It’s one of the reasons I think the scene makes me so uncomfortable - because it’s so innocent and so violent at the same time (part of the visceral sense of violence, I think, comes from the fact that it is meat he’s eating). It’s an act of defiance, a step further into the human world, but it’s one that Aziraphale isn’t fully aware of, I don’t think. Innocent aggression. He loses control and stops thinking, gets sucked into the moment in a way characteristic of children. It’s almost a Cookie Monster moment.

[fearandhatred]

you knew it still hurts underneath my scars // from when they pulled me apart. - hoax, taylor swift

[quoththemaiden]

Aziraphale: The Sword that Guards the Tree of Life

Looking where the furniture isn't

This post is dedicated to @meatballlady's excellent insistence that if we want to try to predict where season 3 will go, we need to look at where the furniture isn't. That is, what must have been there but wasn't shown?

For this one, my source material is going to be Genesis. That is, in no small part, because it does in fact fuck severely that Neil Gaiman and Terry Pratchett took the angel with the flaming sword and the serpent of Eden and made them kiss (@joycrispy, @ouidamforeman). It's also because Genesis, quite simply, exists, and it seems safe to assume that most everyone in Gaiman and Pratchett's intended audience has been exposed to at least its first few chapters dozens of times.

What does Genesis tell us about Aziraphale's purpose?

3:22 Then the Lord God said, “Behold, the man has become like one of Us, knowing good and evil; and now, he might reach out with his hand, and take fruit also from the tree of life, and eat, and live forever”—  23 therefore the Lord God sent him out of the Garden of Eden, to cultivate the ground from which he was taken.  24 So He drove the man out; and at the east of the Garden of Eden He stationed the cherubim and the flaming sword which turned every direction to guard the way to the tree of life.

@joycrispy's analysis above highlights Aziraphale's role as given in the last verse: as the angel chosen to wield the flaming sword, he was sent down after Adam and Eve were expelled to prevent them from returning. Instead, he chose to protect them by giving that sword away. His desire to protect humanity is indeed beautiful (@give-soup-please, @snek-eyes).

But wait, what came right before that? "And take fruit also from the tree of life...?"

2:9 Out of the ground the Lord God caused every tree to grow that is pleasing to the sight and good for food; the tree of life was also in the midst of the garden, and the tree of the knowledge of good and evil.

That's right: What we see in the show is that Adam and Eve were sent out of Eden so that they'd have to deal with the rain and the animals and have to work for their food, but that was never the primary motivation. God planted two special trees, and after Eve and Adam ate from one of them, God was terrified at the prospect of them turning around and eating from the other. And thus, the Garden of Eden was made off-limits and set to be permanently guarded by an angel with a flaming sword.

So, the flaming sword.

Twice now, Aziraphale's sword has helped humanity survive complete and total destruction (@nottobehornyonthemain). The first time, he handed the sword to the first two humans, which protected not just them but the entirety of the human race via Adam and very pregnant Eve.

The second time, he let it be wielded by The Them, who used it to best the Four Horsepeople of the Apocalypse and save the billions of humans already alive as well as unborn generations.

Perhaps the flaming sword was only intended as a plot point in the first season. However, if its purpose were completed, it could have easily been destroyed. As a narrative piece, it could have broken dramatically at the end of the face-off against the Four Horsepeople. Or, Watsonianly, God could have chosen to break it Herself; after all, it was already used against its intended purpose twice, so why let it keep existing?

Instead, it's carefully taken away to... where? Heaven?

The place Aziraphale is now going?

Or at least a place where he could likely find a record showing where it's being stored?

Whether you call it "rule of threes" or "Chekhov's gun," I think it likely that Aziraphale will be getting his sword back in season 3. He probably doesn't want it (@createserenity, @ineffableigh, @doctorscienceknowsfandom), but he'll need it.

The question, then, is what would Aziraphale do with the flaming sword he was given to prevent humans from reaching the tree of life?

If we're looking at where the furniture isn't, the biggest stretch of an interpretation would be to say that the missing furniture is the tree of life. If anyone knows where Eden is, it would be Aziraphale, Guardian of the Eastern Gate. We know that both Heaven and Hell want to end humanity. The opening credits have humanity walking to their judgment after their deaths; what better way to prevent that than by preventing those deaths?

The most intense version of this theory says that the audience should be familiar with the story of the Garden of Eden and know damn well that there are two special trees there and that Aziraphale was put in place to guard the second one — the one humanity hasn't eaten from yet, the one that grants immortal life. That's where, if I were truly trying to swing for the hills by aiming at where the furniture isn't, I would ideally like to end this post. If that were the case, season 3 could even open with Aziraphale walking towards the Garden of Eden, sword in hand, but this time approaching it from the outside with the intention of tearing the wall down.

But, let's be honest, making individual people immortal doesn't feel like it would fit with the themes of Good Omens, nor with Neil Gaiman or Terry Pratchett's world views.

So, let's take the tree of life symbolically: Instead of the tree of life granting individual humans immortality, it could instead represent giving humanity immortality. In that case, the thing that's where the furniture isn't is Aziraphale's sword. You know, the sword that's already saved the human race from extinction twice now, with both times being because Aziraphale gave it away.

I suspect that the sword will wind up in Aziraphale's hands again in season 3. I also quite suspect that it won't be staying there. In the end, I expect it will once again be up to humanity to reach out their hand to take the apple from that second tree.

[p4nishers]

ok but "i need you" is actually so monumental. bc it's never been said before!! yes it was implied in basically all of their interaction just how much they needed each other, but aziraphale never said it out loud before. and this is the aziraphale who just four years ago, which is VERY little for immortals, said "i dont even like you". he has changed so much in those 4 years while he wasn't under heaven's thumb and i genuinely can't help but be proud of him for finally being brave enough to express just how much he needs crowley.

[mellifluousoctopus]

Am I the only one that wanted to see what would happen if Gabriel actually did Fall and become a demon

[toastydumpster]

viewing of the astronomical ellipses