#aziraphale's job clothes

[fuckyeahgoodomens]

[p4nishers]

i need s3 to start with crowley throwing up into a dumpster then sliding down the wall and crying hysterically which cuts to aziraphale doing nothing but spying on him with his little gay ass telescope exactly like this

[wanyinchen]

uh oh you hurt his demon, whoospies

He may be a big softie but DO NOT push his buttons.

Hello everyone! I'm "new" to the fandom :D (LIES i have been lurking for the last two years before summoning the courage to draw for it, yes, i am like that, unfortunately)

[bowtiepastabitch]

Let's talk costuming: Avaunt!

So I think we can all agree that Aziraphale looks his most traditionally angelic in the Job minisode, no? In fact, all of the angels' costuming increases in drama for this particular episode. This is, obviously, a very deliberate choice on the part of wardrobe, so let's discuss.

On a technical level, the biggest thing that stands out to me about this fabulous robe is the draping. Oh, the draping. It feels like a classic angel 'fit because on a very fundamental level, it is. A lot of what we think of as angelic draws on Renaissance artists' depictions, with flowing robes, fluffy wings, and glimmering halos. In art from this era, there is a strong attention to detail on the natural flow of fabrics that makes Renaissance sculpture so breathtaking, such as here: (The Ecstasy of St. Teresa, Bernini, 17th century CE)

It's this ability to make solid marble look like fine silk rippling with movement that leaves such a strong impression in my mind when I look at these kinds of works.

In painting, too, there is a similar effect. Something about the material culture of the Renaissance really lent itself to this style, perhaps fueled by the rise in new textile luxuries that occurred in vaguely the same period. This is seen especially strongly for angels, such as in the sculpture above, and in this painting: (The Annunciation to the Virgin, Botticelli, 15th century CE)

There's a stark contrast between the dress of the two figures. The virgin Mary is no less ornamentally or expensively dressed, but her style is rather minimalistic next to the angel's voluminous robing. It paints a very clear impression of angelic dress, and the designers for Good Omens would have been aware, in at least a small way, of the art history precedence for such a thing.

The poof of the sleeves, the tucks down the front, the little belt with the train tucked in, the gathers, the weight of the fabric, everything about this robe is constructed to carefully recreate the rather fantastical imagery of renaissance art. It's not necessarily an easy texture to nail down, given that the artists themselves had no concerns of gravity, comfort, or the way it would look in actual 3d motion, while our brave costumers were dealing with all three as well as a budget, time constraints, and the constant consideration that white fabric just gets dirty so easy.

Here's some of the other angels as well, so you can see how theirs reflect those same dramatic themes.

And then, of course, when costuming a show you have a second question: What does this mean for our character? Or rather, we know how, but WHY did they make him look so traditionally angelic?

Well, thematically, the Job minisode centers around Aziraphale's struggle with being a good angel and Crowley's struggle with being a good demon. Aziraphale is learning how to be an angel that follows along with heaven as far as we can, and he's so terribly torn up about it. He spends a lot of his time fretting about doing what's expected demanded of him, even if perhaps he doesn't believe it to be the right choice. Natural, then, that he should look the part of the perfect angel whilst sorting out these ethereal woes.

Crowley even draws attention to it himself, giggling a bit at the suggestion that Aziraphale, with his fluffy hair and flowing angelic garb, could possibly become a demon. And it is a rather silly mental image; the garment itself would be comically silly in really ANY other context at all. In the same manner, his performance of angelic archetype borders on excessive:

He's trying so desperately hard here to be the angel he wants to and is supposed to be. He's dressed the part, he's using his big scary angel voice, but deep down he's clinging to an identity that doesn't quite fit.

(You'll notice in this shot the distinct difference between his and Crowley's dress on the level of silhouette as well as color. We see this a lot from the two of them, but with the points I made above it felt worth pointing out in this particular scene)

Here at the end, as he's coming to terms with the cracks in his heaven-given identity, his robe is largely in shadow, blurring out its startling whiteness. We do not see him dressed this way again. (He continues to wear white, obviously, but from here on out his style of dress mimics the human trends of the time rather than that classical angelic imagery)

[uziraphale]

"And right now, that mercurial creature was stripping from his clothes the human way, in front of him, to Aziraphale's horror. His long robes were already gone, and it was pretty obvious the next garment to leave his body would be his short sleeved shirt, leaving nothing left to the imagination from the waist up after that. He hadn’t removed his undershirt in front of the former angel yet, this was all new territory. This was far more than preparing to sleep. [...]

“You’re staring, angel,” Crawley said with a smile, and continued his undressing, turning it into a show, bending to fold the clothes so the bones on his spine would be showcased, stretching so his legs would show off."

There's naked flesh, a staring former angel, freckles, emerging jealousy, bare ankles and ….. If you want to read more, you'll have to do it yourself....

Chapters: 3/? Fandom: Good Omens (TV), Good Omens - Neil Gaiman & Terry Pratchett Rating: Explicit Warnings: No Archive Warnings Apply Relationships: Aziraphale/Crowley (Good Omens) Summary:

God was watching when Aziraphale ate the ox rib. When he conspired against Her and tricked her angels. When he lied to Heaven.

And falling should be bad, the worst thing to ever happen to him. Except that it’s not. Crawley seems to want nothing but to protect him from Hell, to keep him close as he learns the ropes of being a demon assigned to Earth.

Maybe a side of their own is not such a bad and lonely thing after all.

—–

At the end of the day, Crawley was a mercurial creature he just couldn’t quite understand.

And right now, that mercurial creature was stripping from his clothes the human way, in front of him, to Aziraphale’s horror. His long robes were already gone, and it was pretty obvious the next garment to leave his body would be his short-sleeved shirt, leaving nothing left to the imagination from the waist up after that. He hadn’t removed his undershirt in front of the former angel yet, this was all new territory. This was far more than preparing to sleep.

Crawley looked at him over his shoulder as he divested from his usual attire to change into the more luxurious clothes he’d just created out of thin air for himself. “What?”

“You, um. Er.” Aziraphale awkwardly pointed at the naked shoulder of the demon. 

Continue reading:

https://archiveofourown.org/works/54816064/chapters/140179789

@goodomensafterdark​

[vroomvroomwee]

OK we had the "why is everyone so in love with Bildad the Shuhute" question.

But...

Now I wanna ask what is it about Job episode Aziraphale that makes him so FUCKING ADORABLE????

Both Crowley and Aziraphale are at their PEAK cute/dumbass energy here. Is it something about the episode, the directing, the clothes WHAT???

[ineffable-suffering]

Why Aziraphale is an unreliable narrator

Part 1: The Story of Job

I'm absolutely not the first one to talk about this on here and I probably shan't be the last either. Alas, here's my take on why all of the minisodes in Season 2 should be enjoyed with great care – and taken with a grain of angelic salt.

I'm gonna split this into 3 parts, aka the three minisodes we are shown, since I tend to get a bit waffley in my posts and want to still be able to include all the little details. Once I've written them, I'll link Part 2 & Part 3 here as well!

Alright, let's get into it under the cut of doom.

Episode 2 opens with the Story of Job. Right off the bat, I noticed that it sort of looks like an old film playing. At first I didn't read that much into it, but once we see the cut-away to Aziraphale at the bookshop, currently reading that part of the Bible (presumably), I immediately thought: "Oh! It's because it's his memory. He's remembering how it went down and therefore it plays like a figurative film in his head."

This, I then came to realize, is a very crucial difference to all the flashbacks of S1, which were exclusively told and narrated by God. May her intensions be as ineffable as they are: She did tell us all of these stories from an objective outsider's point of view. Now, however, it's Aziraphale who's re-telling those stories to us from memory.

And if there's one thing that's for certain, it's that a memory is something entirely different to an objective narration of a story. Just think about how you yourself remember things. Especially things that happened years, maybe even decades (or, in an angel's case, millenia) ago. What is it, that you really remember? Can you know for sure, that a conversation was held with those exact words? Are you 100% certain that the clothes someone wore weren't different? Had it really been snowing or would that make very little sense given what you're remembering happened in May? And did it even happen in May? Or does that just happen to be your favourite month, the current weather, your preferred style of clothing and what it was that you would imagine someone would have said to you?

What I'm trying to say is: The further away it is that something happened, the more your brain has to fill in the gaps. This is why, for example, your parents will remember the family summer holiday entirely different when you ask them about it 20 years later.

"No, it was Sarah who puked on the car ride home!" "Nonsense, Sarah never puked as a child. Bobby had that gone-off pizza, he's the one that was sick the whole ride long!"

We've all been there. Bobby made it out alive. Don't buy gas station pizza.

Alright, back to the plot: Naturally, Aziraphale is not actually human, so it is a pure assumption on my part that the way his memory works is similar to ours. However, the whole topic of "memory" is actually quite a recurring one on Good Omens.

Crowley seems to have lost his in the Fall, yet somehow managed to get most of it back. Not all of it, though, he clearly has some major gaps ("You used to jump on me back, little monkey in the waistcoat!"). Beelzebub helps Gabriel store all his memories in their little fly container before they get wiped entirely too, by the Metatron and/or Saraqael. Crowley and Aziraphale (and possibly Jimbriel) perform a miracle together that makes everyone in Heaven and Hell forget who Garbiel is or what he looks like. And we know that the Book of Life apparently has the ability to completely erase someone from existence – ergo also erasing them from everyone's memory and making it is as though the person had never been in them at all.

So, clearly, angels and demons being able to remember, forget, reconstruct and, if you're the Metadork, wipe memories, is very much canon. Apart from that very last one, it does make them quite human-like in a way. We too can forget or (wrongfully and incompletely) reconstruct memories, due to things like trauma, illness or simply a lot of time having passed.

So, just like Crowley remembers going into battle but doesn't remember Furfur being there, or just like Jimbriel has entierly forgotten who he is but still remembers the tune and lyrics to Buddy Holly's song Everyday, and just like archangel Michael was miraculously made to forget Gabriel and yet says "Don't I know you?" when seeing him again – just like that, Aziraphale's memories of the story of Job, the story of wee Morag and the story of the magic show in 1941, might not actually be the whole truth.

So, time to look at where the furniture isn't.

Now, it could very well be that the costume designers of S2 thought: "Fuck it, let's go crazy" – but given that this show has a track record of meticulously making sure to stick to accurate and cohesive character design, doesn't it strike you as odd that Crowley would go from this look at the Flood in Mesopotamia, 3004 BC:

... to the (very iconic, don't get me wrong) Bildad the Shuhuite drip in 2500 BC:

... back to this at the crucifixion of Jesus Christ in 33 AD:

I mean ... I mean– come on, that seems like a bit of a far stretch, even for someone as enthusiastically experimental with fashion as Crowley.

And it's not just that: Where did the sunglasses come from, all of a sudden? And why do they look like some sort of obscure, ancient optometrist's device? It's a known historical fact that the Romans were the ones to have invented sunglasses, somewhere around 50-ish AD. Which actually matches perfectly with when Crowley and Aziraphale meet again in Rome 8 years after the crucifixion (51 AD).

So, where do the weird spectacles come from, over 2000 years too early? Maybe from Aziraphale's brain filling in some gaps? Hasn't Crowley always worn those ridiculous sunglasses? Was it Rome? Or Golgotha? Wessex? Oh, blimey, what does it matter!

And it's not just Crowley: Aziraphale's own clothes, as well as the other angels', seem to be very different from the rather plain linen we see him wear before and after the story of Job.

They're laced with golden embroidery along the neckline and sleeves. The remind almost of the clothes angels are depicted wearing in biblical and historical drawings. Ornate and decadent. Not at all like we see Aziraphale in the other flashbacks of S1.

Even Bildad the Shuhite's hair within the minisode keeps changing, going from all pouffy and voluminous to rather deflated and straight-looking:

The costume department either had to fix up two seperate wigs or manually straighten out the volume of the one again to give it a more sleek look. I'm not a professional in this field, but if there's anything I've learned from watching hours of behind-the-scenes material of movies and shows, it's that very little about costume, character, prop and set design is purely coincidental.

You know what it could be, though? An accurate representation of how memories aren't linear, historically correct and objective representations of a certain event, but rather an ever-changing, jumbled mess of impressions, emotions and exaggerations.

More specifically: Aziraphale's impression, emotions and exaggerations.

Like "remembering" Crowley with sunglasses because he's been wearing them for so long.

Like "remembering" himself wearing more luxurious, angelic clothes because that's how he thinks of the difference between Heaven and Hell.

Like "remembering" the permit as a ridiculously long scroll that folded out over an entire valley.

Like "remembering" Job's children to be weirdly sassy in an almost Aziraphale-esque way (Enon: "Don't be silly!") for the fact that Job would have probably taught them to be more humble and obedient in the presence of a literal angel.

Like "remembering" eating an entire fucking Ox after having just one bite of it while Crowley watched him lustfully, sipping on his wine.

Like "remembering" Crowley calling him 'angel', despite them having barely known each other back then.

There's a reason why the flashbacks in S2 seem so much more alive, quirky and, at many points, confusing and all over the place. Because they're not objective stories being told by a third party. They're Aziraphale's. So much of his own thoughts and feelings at the time get projected onto them because that's simply how memory works!

It's subjective. It's unrealiable.

It's not that I'm calling Aziraphale a liar. He's no more a liar than your parents are, mixing up Sarah and Bobby. Or you, remembering snow instead of sunshine. Memories aren't lies. They can simply be faulty, focus on things that you thought were more important and leaving out or changing things that weren't, to you.

The real challenge in all of this, is trying to filter through Aziraphale's stories to see what it actually is they're telling us. Where it is that the furniture isn't. And I think in this case, that's 6 main things (eff you, God, I know you like sevens, but I don't care):

God and Satan (still) talk to each other We see that Aziraphale is quite surprised when Muriel mentions that the whole Job thing is God's bet with Satan. But clearly, despite having made him and the rest fall, God still converses with Her number one traitor about whether or not the humans simply love Her because she gives them nice things or because they truly believe in Her.

God and Satan (and Heaven and Hell) can and do collaborate with each other when they feel like it So much for choosing sides, huh? Truthfully, this is not the first time this is shown to us, but still. It's another piece of evidence on the growing pile.

Aziraphale understands the World and humans way better than any of the other angels "Well, you see ... Citis is 58 ..."

Aziraphale, despite having troubles voicing it, absolutely disagrees and even condemns God's plan of destroying Job's children (and goats and camels and––)

Aziraphale is willing to lie and thwart the will of God Also not the first time we're being shown this but again, piiiile of evidence.

Angels don't automatically Fall simply by doing the above To me, this is one of the most important take aways. It's already hinted in S1 as well that 'Falling' seems to have been a one time even back when the first war broke out in Heaven. And I actually believe that ever since then, no other angels have Fallen again. Aziraphale is the best example for this. He has gone against God's plan numerous times and even lied to her very face (voice?) about it. And yet, nothing ever happened to him. Why exactly that is the case remains a topic for another meta (that I might or might not be working on already, teehee).

Alright, that concludes this first look at the Job minisode! If there's anything I missed, feel free to share it with me. I'll try and add Part 2 (the story of wee Morag) and Part 3 (the magic show of 1941) soon.

Update: Part 2 and Part 3 have officially been written, you can find it them right here:

Part 2: The Story of wee Morag

Part 3: The Story of the Magic Show in 1941

Hugs and kisses, (God)!

[fellshish]

Ok so. To reiterate. In the a companion to owls minisode aziraphale arrived late to the ‘congratulations job’ ceremony rushing in saying sorry, sorry. His clothes were ruffled and he was holding his belt. Then a few moments later crowley popped up from the same door aziraphale used, to start the whole bildad scene. John finnemore i just want a quick word

[hikarry]

You know who loves casinos? Crowley. Because he has a lot of luck in the game. Luck of the devil and all that

Every time he is (lowkey) forced to go to America, even if he is just supposed to pop up into Mississippi, he eventually finds his way to Vegas and spends at least a week there. Not only is it an excuse to wear his best clothes and look his best, but hey, Vegas is a pool of sin. Greed. Lust. Envy. Easy ass temptations. It's his element

At some point in time, while in Vegas, he comes across the angel. It was unexpected, surely, but a nice surprise nonetheless. As an angel, Crowley would have thought Aziraphale would stay as far away from places like these as possible not to get tainted by all the sins, and yet, here he is.

"Angel." Crowley approaches him from behind, leaning on the bar next to him.

"Crowley." Aziraphale answers, not looking up from his wine glass.

"Never thought I would find you in the Bellagio. Or Vegas in general, for that matter."

"And why is that?"

"Oh, you know, all the sin. Everywhere you look. Must feel like an itch to your..." He wiggles his fingers. "...angelic senses. Popped around to bless some poor, corrupted soul?"

Aziraphale finally looks up, offering him a smile.

"If you must know, I'm on vacation."

Crowley lifts an eyebrow over his sunglasses.

"Vacation?"

"Indeed." Aziraphale turns around on his seat, so he is not facing the bar anymore, but the populace in general. "Wanted to know what all the fuss about this place was about."

Crowley mimics him, leaning both his elbows on the bar, watching the people around the hotel.

"And? What's the verdict?"

The angel sighs, looking up at him again, as Crowley looks down at him as well.

"I've mostly been watching the live shows, honestly. Some are good, most are mediocre. I've been waiting for the right time to try one of the casinos."

"And what, exactly, is the definition of 'right time'?" Aziraphale opens a slow bastardly smile in his direction, lifting an eyebrow. "Oh." Crowley smiles back, slightly leaning in his direction. "Angel, you been waiting for me. What a gentleman."

Aziraphale chuckles and gets up from his seat, running his hands down his clothes.

"I could feel your presence as soon as I stepped out of the airplane, my dear."

"And what best way to fall into sin than with the devil himself at your side, is it?" Crowley offers him his arm, but Aziraphale bats it away playfully.

"Don't say it like that. I'm merely curious as to why humans seem to enjoy the dangers of gambling so much." He gestures towards the entrance of the casino. "Shall I tempt you into keeping me company?"

The demon snorts, giving the angel a final once over, before offering him a cocky smile and setting his hand on the angel's lower back, guiding him to the casino.

"Aren't you a box full of surprises." He leans closer and whispers on Aziraphale's ear before straightening himself and looking for some avaliable space at a Russian Roulette.

Alas, Crowley is certainly lucky at the game, but so is Aziraphale, even though he wouldn't call it luck. He would say "it's simple strategy, dear boy!"

They play many games through the night, but they spend most of their time at the poker table. Crowley's poker face is good. It comes with the job description. And he's got some extra points because of the sunglasses. But, surprisingly so, so is Aziraphale's. He is so good, in fact, that they stop playing as adversaries and form a team. With 6000 years under their belt of being secretive, they read each other's subtle signs easily and clean the tables like a very efficient money vacuum. They work so good together they fall into suspicious of cheating and, before they are thrown out, they collect the money and leave of their own accord, right in the direction of the bar where they get absolutely plastered.

"Anyway, until when are you staying? If given two more days I'm sure we can clean the whole of Vegas!"

Aziraphale snorts into his whiskey.

"I don't know, my dear. I think I've had excitement enough for the next year."

"Aww no!" Crowley fully tuns towards Aziraphale, laying his hand on his shoulder. "Cmon, we killed it! We could leave this place multimillionaires!"

"You know we, technically, already are, dear boy. We can literally make money out of the aether."

Crowley rolls his eyes, giving Aziraphale's shoulder a little push.

"It's the principle of the thing. Money won, not made. It has a whole other thrill."

"Mmh." The angel stays in silence for a couple of moments, looking at his glass, until he looks up at the demon. "Where are you staying?"

"Here. You?"

"Four Seasons. Do you want to have breakfast with me tomorrow?"

"At the Four Seasons?" Aziraphale nods while Crowley takes a sip of his glass. "Meet you at 9?"

"At 9."

They did meet, indeed. And had breakfast together. And lunch. And dinner. And when Aziraphale was supposed to stay for only 2 more days, he expanded his stay to 4 more days to leave on the same day as Crowley.

I don't need to say they spent the rest of the days glued to each other. Crowley even changed his stay from the Bellagio to the Four Seasons to be more "efficient", or so he says.

They explored the whole Strip and cleaned every casino they set foot in. Aziraphale made a schedule with all the live shows he wanted to watch and he dragged Crowley up and down the Strip to watch all of them and then give a very detailed review to a very drunk Crowley in his hotel room at the end of the day (aka never before 6am).

After the Second Coming, already living together in the cottage, Crowley will randomly remember that week and ask Aziraphale if he wants to go on a quick vacation and give Vegas a second spin. Aziraphale packs his bags in 35 minutes.

[crikey01]

Crowley could always rely on his Big Scary Demon Eyes to threaten people

but there must have come a point in time as Crowley and Aziraphale grew closer together where the eyes didn't do it. Aziraphale just gazed back at him, so Crowley resorted to physical contact.

i imagine their next encounter after the Job minisode Crowley was like shit i'm going to have to do something more than that.

and so he starts grabbing Aziraphale's clothes and shoving him against walls and pulling him close to fluster intimidate him but it still doesn't work and Aziraphale just stares back at him like ｡⁠◕⁠‿⁠◕⁠｡ because he's smitten

and there came a point where Crowley realised he wasn't that bothered about intimidating the angel anymore - he was just using the situation as an opportunity to get closer.

an excuse to grab Aziraphale and hold him; eye to eye, noses touching, breathing in each other's air. they both knew that in different circumstances they could close that gap.

but no. Crowley plays his part as one of the bad guys thwarting his opponent. and on they go.

and then when he's sure he's going to lose him, he closes the gap between them as a final, desperate measure. to show Aziraphale, before it's too late, what exactly he's offering. What he's always been hinting at with every pull and shove.

but he's still one of the bad guys.

[alina-catness]

Aziraphale be like: Yes, I am good, my job is sunshine, my clothes say soft, my character yells sweet, I love to just be happy and for my next trick I need a gun

[dalliancekay]

Crowley is not stupid, Aziraphale is not an idiot and other assorted thoughts

Or how nothing is black and white and my bullying home and religious trauma is a metaphor not a direct translation to what our immortals experience. And vice versa. -

I don't know what it's like to hang out on Earth since the beginning but I'm sure it is richer than we can imagine we could imagine.

Our two favourite, currently men shaped beings, are captured for our storytelling enjoyment when their time on the Green Planet is about to be cut off.

One has been thrown out from their family home ages ago, we are not sure for what misdemeanour exactly, and is now working for a dumpy place where they don't mind inflicting pain if you misbehave nor do they care whether a trial is fair. So, a mafia, basically. And our hero is tasked with collecting new additions to the unhappy family on top of that. He doesn't much care for it and seems to do the bare minimum only.

The other has been sent to the young planet to guard the indigenous humans and told something vague about an Ineffable Plan that will all work out when there's a War in a few thousand years, which 'our, the Good, side' will win and everyone will be happy. Just tell the humans to behave and if they don't kick up a fuss, we will welcome them Here.

And Here is a vast, empty place, well lit, with busy, lonely bees working and filing, and checking, making sure rules are in place and are followed as written and everything is ticking over; the higher ranks' punishments rare but swift. Everyone has learnt a lesson when half of them were unceremoniously fired when someone said some nasty things about the CEO. So things might not be perfect but at least if you stick to your tasks you will be left alone.

So, we meet demon Crowley, whose family threw him out as mentioned above and his job sucks and he hates it but it's not hard and his placement is rather a nice place so he does his best to not to lose the position. Sometimes he wonders what is the point of it all and that's when he runs into his adorable archenemy, the angel Aziraphale.

Aziraphale was sent to Earth and given a job, one that doesn't seem to quite work out (or does it?) as he follows his heart instead of the rules almost immediately but surprisingly is not punished for it by the CEO. So he spends his time helping the natives, following orders he receives as best as he can and when he runs into his archenemy the demon, he feels a certain strange tingle and flutter in his heart at the sight of the rulebreaker.

They have done a fair job of it for 6 millennia. They avoid getting fired and even manage to take on each other's tasks to lighten up the load and the (pointlessly) random business trips (does anyone Up or Down there ever heard of geography?)

When we meet our heroes in present day-ish, they've been told the End of the World sequence has been triggered and life as they know it is about to end. 

How do they feel about this? Well. Our demon is appalled. He knew this was coming. But not really. It's just something to sort of work towards right? After all, the Earth has been developing rather nicely. The alcohol got better, the food for his Angel, the music got interesting, the clothes tighter... He's having a good time. Yes, he pushes his luck sometimes. Sleeps too long, gives in and saves someone instead of ruining them. He gets into all kinds of tangles to spend time with his crush. He is rash but he's not stupid. He knows what's at stake. But he's angry. And sometimes that's hard to contain. He does go too fast. But Aziraphale is always there to catch him. And if he can't, he waits and worries and is there when Crowley returns.

So about the angel? He knows he should dislike the demon. He knows he should follow his directives. He knows he should not meet or talk to Crowley. And what does he do? Gets himself arrested in his fanciest silks so they can have crepes when the world and humanity is bringing them down with their relentless hate towards each other. He puts on a magical performance when the demon fails to deliver some contraband liquor in the midst of the Blitz bombing.

And, now. Here's the funny bit. Angel has gotten himself a part time job in the past few centuries. He's had a few before, but not quite like this. He has a place he loves now. A safe, cluttered place where a demon is welcome. It's not much like his original home. You could say... it's rather quite the opposite of it. In any case, he never really got on with his managers but tbf he likes his job. It makes the humans happy and he loves the humans and loves making them happy.

He also does not want the world to end. But his fam has always told him that once this bit is over, an even better one will come along. What that bit is was never quite explained but then, asking questions was always frowned upon and rather vehemently so. He's noticed this from the get go... unlike a red headed angel he once knew...

What is my point?

That neither Crowley or Aziraphale are wrong. Or right. Doing the correct thing. Or not. Me. You. We come from broken families, we have been friends and lovers with bad people, we have escaped religions, cults, home countries. Lies. Rules. Hate. We have fought for our love to be recognised as love.

Crowley and Aziraphale live in a world where Heaven and Hell is real. Where Satan rules over a smelly place with mould on the walls and God is engrossed in her sci fi novels and seems to have forgotten about Her Earth project.

You can't call Aziraphale stupid for believing in God. She exists. Whether She has a plan is open to debate, sure. She seems to have claimed so at some point, but then, we all change don't we. Maybe She changed Her mind and forgot to tell the upper management. Maybe She thought She didn't need to spell out all the details to them so they kill Job's kids. Maybe She was vague on purpose much in the style of King Henry II and Thomas Beckett.. Anyway. Back to Aziraphale, our angel on Earth. He is kind, has hope, wants to believe after thousands, millions of years. And this is not stupid. Aziraphale does and is brave, courageous things. And he's slowly learning to trust himself more too. To know the difference. It started with the sword and his overthinking on the giving away of it. He made a decision to protect Job's children. Risked Falling for it. Trusted the demon over his bosses. Not because Heaven is WRONG. Yes, they are. But the thing is they don't care. And Aziraphale does. He cares about humanity. And he cares about Crowley.

Nobody noticed (or did they) how our two field agents fell in love (neither did they tbf) and how fiercely they guard the little secret they share. The smiles and the glances, the small flowers of hope that things can change one day.

And they did change. Plan A, War and Destruction, did not work out. The youngster they sent from Below decided he likes the new place and refused to ruin it. They both learned things. They are still learning. The demon how to trust again. The angel how to question things.

So what's next? The place Above is going to send their trusted agent. He followed the rules last time seamlessly. It did not quite work out but no problem, they'll send Him out again. With a rather more final arrangement.

In the meantime, the disgraced and rather troubling Earth agents have been lying low. Unsure of their places and overall safety, they went on with their lives as best as they could until the angel happened to help his former boss run away with his paramour from the other side and is visited by the Big Boss.

Big Boss wastes no time and suggests to our angel he should come back Upstairs and take the place of his disgraced superior. To use his skills. To be better looked after I suppose. New opportunities. To be close to the big upcoming decisions or - under a close watchful eye.

Aziraphale, not surprisingly, refuses. He does not want to put any of his 'skills' to any good causes but his own. But then. THEN. He is not so subtly made aware that his dangerous liaisons with the other side have been noted and his help in the latest Complication might not go unpunished if he's not careful.

And this job offer suddenly seems FAR more sinister than it did 15 minutes ago. Especially when it is handed over with a coffee (that he does not much like) from a place called Give Me Coffee Or Give me Death.

Our angel goes home to cautiously tell his demon about the trouble they are in and his world comes crashing down around him.

This post turned out to be completely different to what I originally wanted to write. Is there a point? You decide.

Aziraphale's decision makes complete sense, he loves the Earth, his home and Crowley over and above everything else. And he WILL fight for their safety. AND the humans in the process if he can.

This is my very first Tumblr post. Way to go me etc. Please be kind.

[im-the-j-in-anthony-j-crowley]

I think I talk a lot about loving Crowley, but now I want to talk about Aziraphale because the reasons I love him most I think are perhaps worth sharing.

Going back to heaven: Yes, he totally destroyed us. But it's an attempt to change a system, and you have to think about the fact that heaven is not a system like any government you can find in our reality. It is an entity that CREATED THE UNIVERSE. The level of power that heaven has is something unimaginable next to any equivalent in our world. And this angel had the audacity to say: Yes, I'm going to try to fix it.

You broke my heart, AND you made me love you more in the process. The fucking audacity

Being Enough of a Bastard: Have you ever noticed those moments where Aziraphale throws out phrases that seem innocent, but at the same time if you think about it too much, they are a... my life what are you doing?

Commenting to Gabriel about human clothing after Gabriel despised human food.

Asking Crowley if he had better ideas or ONE better idea

Challenging authority: He does it in a subtle way, he does it in a way that minimises the risk of retaliation, but he does it.

Being in a room full of high ranking angels and high ranking demons and just telling them "shut up and let's see what Beelzebub and Gabriel want" MY LIFE I LOVE YOU

When he was trying to save Job's children.

In his conversation with Metatron. Yes, he eventually gave in, but he was defying him.

In hell when he was pretending to be Crowley

I am not usually inclined to love characters who are defined as the "always do the right thing" the "morally right" the "good one"

I tend to respect those characters, but they are not usually the character that makes me go: OH GODS I WANT TO BE ABLE TO MANIPULATE REALITY TO MAKE EVERYTHING PERFECT FOR YOU, YOU ARE THE MOST PERFECT BEING I'VE EVER SEEN

And Aziraphale does that. And at the same time, he is enough of a bastard. And oh fuck, how much i love that bastard part

Also, I can't leave here without mentioning Michael "acting choices" Sheen. I've never been so interested in an actor that I started watching every single thing they acted in as if my life depended on it, BUT I'M DOING IT FOR THIS MAN

Every expression he chooses to make, every movement, reflects so well the reality of Aziraphale that I can only say that it's perfection

I believe in perfection simply because I saw Michael Sheen being Aziraphale, and Aziraphale being Aziraphale

[beautifulbows924]

My current thoughts on The Coffee Theory…

I don’t think Aziraphale was mind controlled, but I do think he was poisoned. Almonds are supposed to signify holiness, and I think that drinking the coffee pushed his belief in Heaven much farther than it was. (There is a basis for his belief, but not nearly that much—his interference with Job, illustrates this perfectly.)

And the scene “Does anyone ask for death?”, what an odd question to ask if you’re just getting a normal coffee, as well as the strange miracle like sound that came directly before the cup was handed over.

+ Crowley’s poisoning scene from episode 3 felt like foreshadowing, and I think it doesn’t have so much to do with “mind control” as it does not being entirely aware.

Aziraphale’s “Nothing lasts forever” line in particular alerted me to something being off, because isn’t that his character? He’s worn the same clothing for over 100 years, he upkeeps books and hates selling them. He seems to have a strong aversion to change and yet he’s ready to give it all away for power??? He’s a bookshop owner, he’s never vied for power even on earth.

His motivations seem extremely off in my opinion… because he knows Crowley wouldn’t want to return to Heaven! The last 6,000+ years have been about them asking questions & coming together in a shade of grey.

Different shades mind you, but with similar motivations and goals regarding both humanity & earth.

All this to say… Aziraphale has never been cruel and the smile in the elevator at the end seemed edged with a vindictiveness I’ve never noticed in him prior.

Additional Theories, May Be Found: Here.

[avocado-writing]

notes: I did a lot of research for this and yes, the manuscript I reference is a real thing. I didn’t put its name in though because that felt a step too far 😂 set in the light, the dark, and the spaces in between after ch3 so hope that’s ok! requests like this give me life.

relationship: aziraphale x immortal!reader x crowley

rated: G, pure fluff

word count: 1.4K

if you like my work you can buy me a kofi!

You’re the one who makes the tea. 

That’s because you’re the only one who changes how you have it: sometimes you fancy a chai, or a green tea, or a lapsang souchong. Sometimes with sugar or a little bit of milk, sometimes with neither, sometimes with an oat alternative. It changes. You’re human, you go through phases. 

But Aziraphale and Crowley? Nah, they’re creatures of habit. Despite the angel’s wide and experimental palate he’s oddly rigorous when it comes to his cuppa. For him, it’s loads of milk and four sugars, drowned to the point where it could hardly be called tea any more. Crowley likes his black and strong and nowhere near anything that could affect the taste. You wring the teabag tortuously into his mug with a teaspoon before grabbing all three servings and heading into the shop. 

You put yours down first, on the side next to the book you’re currently reading, then hand your husbands theirs. They both take them from you in the same way, the way they have done for centuries now, a domestic ritual: accepting the mug you offer and then your hand, pressing a little kiss of thanks and affection to the back of it. 

A heartfelt  intimacy just between the three of you. 

☕️ 

“Hurry Crowley, it’s starting!”

“Yes, yes, alright angel, hang on.”

“We won’t hang on and we’re not pausing it. Not a threat, just a fact,” you call into the kitchen. A couple of seconds later, Crowley emerges from the kitchen with three wine glasses and a bottle of Pinot Grigio. 

“I’ll be mother, then,” he mutters as the other two of you barely take your eyes off of the telly. You’ve got your legs slung over Aziraphale’s lap and he only takes a break from stroking your knee in absentminded, loving circles to take the proffered glasses from his husband, one for himself and one for you. Crowley plonks down the other side of Aziraphale and throws his own legs over him too, the two of you playing footsie for space across his plush thighs. Eventually the three of you find a comfortable pile and settle in. 

“Another ten weeks of torture begins,” Crowley says as the Bake-off theme ends and the show starts. You nudge him with your toe. 

“You don’t have to watch it with us,” you tell him. He harrumphs but doesn’t argue because, really, of course he’ll watch it with the two of you. It makes you both happy. 

🍞 

Your work is as a consultant for museums around the country, which is a fun way of saying you get paid a lot because you know a lot. But mostly, you only know a lot because you’ve been around for a very long time. So whenever a shard of pottery or a scrap of clothing needs dating they call you to come and put its history into context. 

Also, for the bigger museums, it’s a chance for you to smuggle out the stolen artefacts and return them to their country of origin. You consider it a hobby, a bonus perk of the job. 

You’ve set up this exhibition. It’s for pottery around the end of the Roman rule in Britain, stuff you’ve found and identified around the country on archaeological digs. You lead Crowley and Aziraphale through, discussing your findings in detail, before you come to a small, surprisingly intact, terra sigillata oil lamp. It sits on its own, spot lit. You asked for it that way. 

“See this? I made this. Over a thousand years ago,” you tell them, quietly, gently putting your hand to the glass of the display case. Aziraphale and Crowley take a careful look at the engraving on the object. It bears the profile of a man, and with the sharp cheekbones and little glasses there’s only one person it could be. 

“Oh, Nightingale. It’s lovely,” Crowley says, surprisingly touched. He wraps an arm around you and buries his face into your hair. 

“You could say I’ve held a flame for you for a long time,” you say, and grin. Crowley groans. 

“Did you put my face on a lamp just to keep that pun up your sleeve?”

“Maybe.”

🔥 

You next return to the museum when you pick up that Aziraphale is jealous. He isn’t jealous often but he’s pants at hiding it, and it’s not hard to guess why: he’s just seen that Crowley stuck with you for such a long time you put his face on a piece of bloody pottery. You’d probably be a bit put out too. 

So for a couple of weeks you throw yourself into your work to find the thing that will make it even. And you do, even though it takes a lot of overseas bargaining and promises to do some pro-bono work. 

You finally get the museum in America to agree to send it over for a showing. You arrange a special exhibition specifically for this, where it’s held behind a huge glass case in a dark room with only a small light on it. 

But you get special access because, well, you’re you. So you sneak Aziraphale and Crowley in one night and walk into the display room, wearing a face mask and a pair of protective gloves. 

There it sits: the Canterbury Tales. One of the oldest versions in the world. 

“Oh, this is wonderful!” Aziraphale gasps, peeping over your shoulder to inspect. “I can feel the adoration coming off of it in waves. This was a labour of love, wasn’t it?”

“Yes. I’d let you have it for the shop if I had the power. But I think they’d notice if I shoved this one down my top,” you sigh, scanning the pages for what you’re after, then stop dead when you find it. 

“Here. Look.”

You point to one of the illustrations, a mounted rider on a beautiful white horse. Aziraphale takes in a quiet breath and draws closer. Because just as plainly as you put Crowley on your oil lamp, you drew your angel in the Canterbury Tales. Curly hair, pink face, beaming smile. 

“Oh my,” he whispers. You stroke the little picture and remember toiling away over painting it, repeatedly wiping your brow to make sure your sweat didn’t smudge your work. 

“I put you in all the copies I could get my hands on. And you,” you turn to Crowley, “your face is probably buried on my pottery in a dozen dig sites across the UK. I’m just saying I’ve loved the two of you since the day we met; always have, always will.”

Your husbands look at each other and then at you, before as one they step forward to embrace you. 

“And we’re lucky to have you,” Crowley whispers in your ear, as Aziraphale kisses your cheek. Their hands meet at your back and they interlace their fingers with each other, you wrap your arms around them and stay like that for a moment; three working parts of a whole. 

They kiss, and then they kiss you. You feel warm and rosy. Then you spend the evening reading through the book from beginning to end. 

📖 

You keep your wedding ring on a chain around your neck at work. Not because you’re embarrassed that you're married; far from it - it’s far too precious to risk losing while constantly taking protective gloves on and off all day. So you don’t blame your colleague for asking you on a date. He’s young, fresh out of uni, and of course has no idea you’re old enough to be his grandparent forty times over. 

“That’s very kind,” you tell him, and his face falls because he knows where this is going, “but I’m already happily married.”

He sighs in embarrassment but manages to recover quickly, instead telling you: “they must be someone special to have you.”

He’s doing the polite thing by not assuming the gender of your spouse but it turns out “they” is right on the money. On cue, Aziraphale and Crowley walk through the door to pick you up at the end of your shift. You wish your colleague goodbye and go to meet them. 

“Evening, darling,” Crowley calls. 

“How was work, my love?” Aziraphale follows up. 

“Oh, fine. I’m tired now. And hungry. Can we go and get dinner?”

You link an arm through either of theirs, heading out into the London afternoon. 

“Ooh yes, that is a good idea. I quite fancy fish and chips!”

“Let’s go to that spot round the corner. They make their own tartar sauce. Crowley, are you getting your own chips or nicking mine when I’m not looking?”

“The best tasting chips are the ones you steal.”

“Oh, he doesn’t even deny it—!”

Your colleague watches you leave the building, a little dazed, and supposes it takes all sorts to make a world. 

Taglist: @angiestopit @dazed-soul @idontmeanto @smile-eywa @staygoldsquatchling02 @underratedboogeyman @specter-soltare @candlewitch-cryptic @cool-ontherun-world @emilynissangtr @willbedecided @cool-iguana @bdffkierenwalker

[fellthemarvelous]

Staged and Good Omens: The discontinuity of a story within a story within a story.

I'm watching the third season of Staged again right now, and I think I've figured something out.

The discontinuity that people are talking about of Good Omens 2.

Staged 3 was a very modern version of A Christmas Carol. Ep 1. Is there a version? (David and Michael work with Simon again) Ep 2. Who's Playing Who? (Scrooge, episode was a farce) Ep 3. Past (Michael and David are co-dependent af) Ep 4. Present (Michael and David fail to write a script) Ep 5. Future (David tells everyone they are doing a live show) Ep 6. Knock, Knock (Simon gets even, ending is sad but not really because they are just taking a break and breaks don't last forever, and Simon gets a job offer based on his script for Knock, Knock, the one story he didn't write.)

The epic trainwreck that is David and Michael's live version of A Christmas Carol is actually a hit, but everyone else has to convince them to stop the show because it can't go on forever. So they end it with Michael and David agreeing to take a break from working together even though it makes both of them sad.

But the whole premise of Staged was that everything was filmed on iPads, computers and cell phones. And it was submitted to Simon so he could piece it together.

Simon Evans wrote Staged as a love story between David and Michael. Simon writes what he sees and finds ways to incorporate fiction into reality. He saw them on Good Omens together and he saw the chemistry between David and Michael, and he turned it into a comedy about these two eccentric actors who clearly love each other. And they agreed to star in it.

They improvised most of it, but Simon laid out the framework of the plot for them to follow, and then he let them be themselves.

The entire show has layers upon layers of meta weaved into it.

Anyway, my point is...

This post is one of several that covers the different ways discontinuity seems to occur during Good Omens 2. The evidence is very compelling.

I'm not here to point all that out because I don't have the strength of some of the meta writers in this fandom, and they're already on top of it, but if we look to Staged as an example, what is the plotline that Good Omens 2 is following?

Good Omens 2 is a modern version of.... Ep 1. The Arrival Ep 2. The Clue (A Companion to Owls) Ep 3. I Know Where I'm Going (The Resurrectionists) Ep 4. The Hitchhiker (Nazi Zombie Flesheaters) Ep 5. The Ball Ep 6. Every Day

What are the stories happening around Aziraphale and Crowley? They're the focal point of season two, but what else is happening?

Neil Gaiman has said that everything means something. They aren't just showing us these things by accident. There is a story happening outside of Crowley and Aziraphale's relationship. And we are all looking closely for that person doing a very odd thing just out of sight or objects being moved around without knowing how they got there in the first place.

There was literally an entire scene in Staged where they are trying to figure out who is playing Scrooge and Simon is so anxious that he keeps moving his plant between two different spots in the room. It also ends up with Georgia accidentally planning her own birthday party because David is in Tokyo. But then they cut at one point and you learn David was actually in his bedroom and not a hotel room in Japan and Georgia didn't really just plan her own birthday party. That chaos was scripted. David has to change clothes, they have to go several minutes back in the scene they just did, but as Anna points out, the sun is not in the same place it was when they started the scene. And then Michael loses his shit at Simon and storms off.

You think that's the reason Simon left, but then we get the episode where Georgia tells David Michael wants to write the script and then tells Michael that David wants to write the script. She does it so she can get them alone in a room together because people love watching them argue. They find out she set them up about six hours later. They are hungry and hot and annoyed and mad at her so she gets Simon to come back to work with David and Michael. Simon comes back from cosplaying as a dentist, brings the food Michael ordered hours ago, and sits down to write. Michael gets pissed off at Simon again because Simon forgot the prawn crackers, so he throws his food at Simon.

Some of these are of the past. Some are of the present. They were all filmed at the same time though so you don't know what happened when or why.

These scenes are all cobbled together. They tell a complete story though. The order just isn't exact.

The story we are seeing in season 2 isn't the real story. It was happening around Aziraphale and Crowley, but with them at the focal point, you get a romantic comedy and it distracts you from what's going on in the background.

There is more than one story in season 2. It's basically a jigsaw puzzle that we can try to piece together, but we won't know what's actually happening until we get the much needed context of season 3.

There are clues all over the place in Good Omens 2. The story is being told through so many other methods except for the one that makes the most sense to us because someone doesn't want us to see what's coming, so we get distracted by Nina and Maggie, Jim, Aziraphale and Crowley.

We know Muriel and Saraqael are up to something. We know Shax and Furfur are up to something. We know the Metatron is up to something. What we don't know is where God went. We hear God's voice in Companion to Owls and we hear God's voice speaking through and with Jim when Crowley orders him to tell them what is going on. It ties directly to the first time Crowley and Aziraphale ever worked together.

We know that Aziraphale is going to Edinburgh and he knows exactly where he's going because he and Crowley have been there before. It challenges the concept of good and evil because Crowley does the good thing and gets sucked into Hell. Right next to Gabriel's statue.

We know that Aziraphale picks up a hitchhiker even though he doesn't want to, and it turns out to be Shax. She reminds Aziraphale of the time that Furfur caught them working together. There were zombies and human magic tricks and Aziraphale uses sleight of hand to save Crowley from being dragged back down into Hell again.

The episode titles of Staged 3 all represent different chapters of A Christmas Carol. But it was more than that because Michael is upset with David for doing adverts without him after they were both asked to work together at first. They love each other and they love working together, but it's preventing them from doing other things they want to do. Hence the break from working together.

It's a story within another story within another story.

And I think that's what we are witnessing in Good Omens. Things aren't happening in the right order. Beyond the sadness of Aziraphale and Crowley splitting up, there is still the next apocalypse to deal with. The story we are getting in season two isn't happening sequentially. It's being manipulated to hide the signs that things are already underway by giving us a love story as a distraction.

And it works very damn well. Because the love story was beautiful.

Staged 3 ending

Good Omens 2 ending