#bentley handle

[ineffable-suffering]

The Bentley Handle Easter Egg

[Author‘s note: This humble mini-meta was liked by Mr. Gaiman himself which makes me not only feel very honoured but also believe that my guess at the end could just be true, heh. Thanks, Neil!]

I‘m probably not the first one to notice this but I still feel compelled to post it because it puts a smile on my face every time I see it:

We all know that the Bentley Handle is somehow Crowley‘s instrument to stop and start time in S1E6 when the world‘s about to end. It‘s one of only two of the remains from the burning Bentley.

So, you can imagine my surprised frown when I watched the first scene of S2E1, In The Beginning, and:

… there she is again! Starting time for, well, the very first time.

It‘s definitely the exact same handle, which means that Crowley got to keep it (or secretly took it with him) post-Fall. And then probably kept it hidden/stored away in different places over the millennia, including in the Bentley.

What a neat little piece of easter egg shell! Thank you Neil!

[no-paperwork]

I was thinking about

Crowley's crank handle

That crank is with him since before the beginning (but.. a material object in Heaven? Or maybe it isn't?) and the Starmaker use that to operate the universe

evidently it was always with him, we see it again when the Bentley is destroyed by M25 fire, he collects it from the ground after he's "having a moment here!"i

and with that he restarts the time when they return to the present with Adam to face Satan.

We can't consider it as Aziraphale's flaming sword, because God gives the sword to Aziraphale, but the crank cannot have been given by God, because Crowley didn't lose it in the fall.

Will we see it again?

What is its origin?

[mariocki]

New Scotland Yard: Error of Judgement (2.8, LWT, 1972)

"Well, why didn't Stevens identify this girl?"

"Oh, he said she was only a teenager, he didn't want to create family problems for her."

"You let a man hang because you've got family problems? I take it we did try to find her? This girl?"

"It was up to the defense to produce their own witnesses."

"You didn't even look for her?"

"Look, if we'd been asked to by the defense solicitors, if we'd been directed by a judge, if we'd known who to look for, if we'd had a description - nobody even produced a name for the girl!"

"Therefore she didn't exist."

"Not necessarily."

[imthebentley]

Ya'know, you should get more of a say in who gets to drive you. You're a strong, independent young car! Why should Crowley get to decide who drives you?

(haha, young! I like you!)

I do get a say in who drives me! And I only want to be driven by my registered drivers ty very much. I'm serious, yall know about double clutching? Yall had a drivers licence since 1933? Nah mate. I'll drive you but you can't drive me.

Self driving, on the other hand, is definitely an idea I can get behind...

[viking-raider]

OMG! When Crowley was cast out of Heaven, he managed to snag the crank he created his stars among the cosmos with, on his way down to Hell! He either turned it into the Bentley or incorporated it into the Bently. That's why, it was the only thing to survive the Bentley's destruction. Because it's a heavenly object!

Crowley using a crank handle to operate the universe ❤

[ellieslittlewh0re]

━ 𝐌𝐈𝐋𝐋𝐈𝐎𝐍 𝐃𝐎𝐋𝐋𝐀𝐑 𝐌𝐀𝐍 ୨⎯ 𝐑𝐢𝐜𝐡𝐎𝐥𝐝𝐞𝐫𝐖𝐨𝐦𝐞𝐧! 𝐀𝐛𝐛𝐲 𝐱 𝐟𝐞𝐦 𝐫𝐞𝐚𝐝𝐞𝐫 ⎯୧

𖧷

𝖯𝖠𝖱𝖳 𝟣 - 𝖯𝖠𝖱𝖳 𝟤 - 𝖯𝖠𝖱𝖳 𝟥

⟢ 𝐬𝐲𝐧𝐨𝐩𝐬𝐢𝐬 𝖿𝗋𝖾𝗌𝗁𝗅𝗒 𝗀𝗋𝖺𝖽𝗎𝖺𝗍𝖾𝖽 𝖺𝗇𝖽 𝗇𝗈𝗐𝗁𝖾𝗋𝖾 𝗍𝗈 𝗀𝗈, 𝗅𝗎𝖼𝗄𝗂𝗅𝗒 𝖿𝗈𝗋 𝗒𝗈𝗎 𝗍𝗁𝖺𝗍 𝗒𝗈𝗎 𝖼𝗈𝗆𝖾 𝖺𝖼𝗋𝗈𝗌𝗌 𝖺𝗇 𝖺𝖽 𝗁𝗂𝗋𝗂𝗇𝗀 𝖿𝗈𝗋 𝖺 𝗇𝖺𝗇𝗇𝗒/𝗉𝖾𝗋𝗌𝗈𝗇𝖺𝗅 𝖺𝗌𝗌𝗂𝗌𝗍𝖺𝗇𝗍 𝗉𝗈𝗌𝗂𝗍𝗂𝗈𝗇 𝗂𝗇 𝗍𝗁𝖾 𝗋𝗂𝗍𝗓𝗒 𝗌𝗂𝖽𝖾 𝗈𝖿 𝗍𝗈𝗐𝗇.

⟢ 𝐭𝐚𝐠𝐬 𝖺𝗀𝖾 𝗀𝖺𝗉! (𝖺𝖻𝖻𝗒 𝗂𝗌 𝗂𝗇 𝗁𝖾𝗋 mid-𝗅𝖺𝗍𝖾 𝟥𝟢𝗌, 𝗋𝖾𝖺𝖽𝖾𝗋 𝗂𝗌 𝟣𝟫-𝟤𝟤 𝗂𝗌𝗁) 𝖺𝖻𝖻𝗒 𝗂𝗌 𝖽𝗂𝗏𝗈𝗋𝖼𝖾𝖽 & 𝗁𝖺𝗌 𝖺 𝗄𝗂𝖽, 𝗈𝗐𝖾𝗇 𝗆𝖺𝗄𝖾𝗌 𝖺𝗇 𝖺𝗉𝗉𝖾𝗋𝖺𝗇𝖼𝖾 (𝗌𝗈𝗋𝗋𝗒) 𝖾𝗏𝖾𝗇𝗍𝗎𝖺𝗅 𝗌𝗆𝗎𝗍

𝙖/𝙣 - 𝗂 𝗈𝗋𝗂𝗀𝗇𝖺𝗅𝗅𝗒 𝗉𝗅𝖺𝗇𝗇𝖾𝖽 𝖿𝗈𝗋 𝗍𝗁𝗂𝗌 𝗍𝗈 𝖻𝖾 𝟤-𝟥 𝗉𝖺𝗋𝗍𝗌 𝖻𝗎𝗍 𝗂𝗍'𝗌 𝗀𝗈𝗇𝗇𝖺 𝖽𝖾𝗉𝖾𝗇𝖽 𝗈𝗇 𝗒𝖺𝗅𝗅𝗌 𝖿𝖾𝖾𝖽𝖻𝖺𝖼𝗄

It was a slim chance, almost next to none that you out of all people would get the job. It's not like you have any experience with taking care of kids, maintaining a house, and especially of this scale. But here you were, standing in front of your new home, at least for next however long you can keep your new boss satisfied.

The driveway itself felt like it was straight out of a movie- luxury cars, perfectly polished laid stone, lined with landscaping around the edges that looked almost fake from a distance, not a singular blade of grass being out of line.

As you take in the surroundings, slowly making your way up the (what feels like) mile long driveway, a man is closing the front door behind him.

"Hello!" He calls out, waving his hand in your direction to come over.

He extends his arm as you approach him, offering a gentle handshake, and introduces himself as Owen.

He looked slightly out of place, not as much as you did, but still noticeable.

You laughed nervously, still unsure who "Owen" is supposed to be.

"Are you the one who I emailed about the job?" You asked, clenching your fingers nervously around the handle of your suitcase.

He placed his hands on his hips, looking a little off-guard before seemingly understanding,

"No, no, sorry, that would be my wife- ex wife." He corrected himself, giving you a tight lipped smile that felt more like a soothing self-pity tick.

You nodded, and looked around, unsure of what to say next.

"Sorry-" He laughed again, "I'm just stopping by to drop our son off. She's inside."

"Ah" You mouthed, and thanked the man. He walked past you, past the Bentley, and approached the driver side of the less expressive looking car in the driveway before turning around and shouting a "good luck".

What you do know- 1. Your boss is a woman, 2. She's divorced (seemingly), and 3. She's seriously fucking loaded.

What the man meant by "good luck" you can only assume. Maybe she's a bitch, or maybe, he's just bitter about whatever their history is, but you don't even have time to think of the possibilities because the front door is opening once again.

"You're late."

She stood in front of the wooden, 8, maybe 9 foot tall door, not even bothering to look at you as she fiddled with the cufflinks on her perfectly tailored, white button down.

"I'm so sorry, I had a uber cancel-"

She sighed, very clearly unimpressed by your excuse.

"Bedtime is at 7, and there's food in the fridge-"

She turned, walking inside, and you had to pick up your pace to keep up with her longer strides as she briefly escorted you through the foyer, and into the kitchen, "There's emergency contacts here in case of an emergency." She sighed deeply, from annoyance or exhaustion you couldn't tell, pointing to a small notebook island.

You rocked on your heels, nodding at her every word because, honestly, you were scared and weren't sure if you could trust your voice at this point.

"Alright." She exhaled, not really directed at you, and picked up a coat that was hanging on the back of a bar stool, draping it over her arm, "Oh, one more thing-" She leaned forward, and placed a hand on your shoulder, violating your senses with her cologne, "-don't give him any sugar after 4, he'll keep you up all night."

You looked up, and finally, she sees you, her blue eyes etching themselves into yours.

"Yes, ma'am."

And Abby wasn't sure if it made her feel better or worse when she did this. Sure, you seemed responsible enough- shy and respectful, but shit, you were pretty.

She backed away and cleared her throat, turning her back towards you as she made her way towards the direction of the front door, the heels of her chairman shoes echoing against the hardwood floors.

-

The house was eerily quiet when there wasn't a 4-year-old running around and filling its vastness with his laughs and clanking of toys, not that you minded though, you were exhausted.

You sat in what looked to be the "family room", given the chest of toys, and large mounted t.v. with leather couches that felt too firm, almost like they had never been sat in by someone who weighed over 40 pounds, still, it served it purpose in giving you the place to readjust.

What you do know- 1. She works late, 2. Her son's name is Carter, and 3. She's scarily attractive.

Wait-

She's attractive? No- you can't think that. She's your BOSS, and she has a ex-husband, so, she's most likely straight, right?

You got up, pacing around the house, and looked around to make sure everything was where it should be in hopes it kept your head occupied.

You re- read through the notes she had left behind in the note pad, what the security code was, where your room was etc... but, even then, you still found yourself examining her handwriting, which also found a way to look expressive.

And then you thought about how she dressed- clean and sharp, the muscles in her back flexing as she walked away, and how tightly her shirt hugged her arms-

Your head darts towards the archway that just barely kept the front door out of sight, the faint beeping of the security code being dialed in freezing you.

The door opened and closed, the wall still shielding the company, and you anxiously fixed yourself- pushing strands of hair behind your ears and smoothing out the wrinkles on your pleated skirt.

Abby rounded the corner, looking down while unbuttoning the first three buttons of her shirt before looking up.

She looked shocked to see you standing there, and evidently waiting for her to get home.

She remembered telling which room was yours in the notes, right?

"Jesus it's-" She looked down at the watch on her wrist, "- It's almost 11. What are you still doing awake?" She sounded almost annoyed like she was looking forward to the peace and quiet that you now ruined, but she wasn't annoyed per se.

See, it's been a while since she has been this attracted to someone, and after being married for 12 years and losing all the skills that comes with flirting, she wasn't sure how to handle it.

"Couldn't sleep." You lied, knowing you didn't even try to go to bed, but she doesn't need to stress herself out with you when she has her own stuff to deal with.

Abby sat at the kitchen island, pushing her sleeves up to her elbows, and you can't help but notice the new skin- the thickness of her forearms and how the muscles curved along the side.

She looked exhausted- still polished, but the front stands of her hair were now loose from her slicked-back hairstyle, gently dancing over her cheeks when she moved her head.

Suddenly, you felt like a burden and didn't want to piss her off more than you thought you already had. So, you excused yourself and started to walk past her towards the hall, but she stuttered something, something that you didn't quite catch.

"Hm?" You turned around, eyes wide and eager to hear what she had to say.

It's been awhile since anyone cared that much to listen to her, she thought.

"Care for a drink?" As soon as the question left Abby's lips, she felt a little embarrassed- hell, she wasn't even sure if you were old enough to drink, not that she cares if a person under the age of 21 drinks alcohol, but she does care if the question came off... weird.

Maybe it was weird.

By the look on Abby's face, it's like you had already declined her offer- defeated and a little bit of a bruised ego, ready to remove herself from the conversation all together, and never speak of it again.

"Sure." You agreed, smiling at her, and she returned the smile, her face lighting up like she hadn't sat down with someone for a drink in a long time, which is no surprise to anyone when you're a mom and have a long, demanding work schedule.

She got up, walking across the kitchen to an intricately detailed wooden cabinet, "What do you want?"

She started to list all the different names of liquor, some sounding foreign to you as you sat down in the barstool that was next the one she was occupying previously, swiveling it back and forth with your feet, "I'll have what you're having." You say sweetly, not wanting her to go through the extra effort of pouring something different.

She chuckled, looking at you over her shoulder before dropping her head, shaking it back and forth.

She pulled a bottle from the middle shelf, setting it on the counter along with two short glasses.

She poured the dark caramel liquid, filling the glass by only an inch or two, and slid it across the island, "Ladies first." She motioned her hand, waiting for you to taste it.

You brought the crystal to your lips, your cheeks hot from the undivided attention she was giving you, but you brushed it off and tilted the glass back.

The liquor burned your throat, every part of you wanting to spit it out, but you swallow anyway.

"It's good." You lied, and not very convincingly, which humored Abby, chuckling at your reaction before pouring her own drink, filling it more than what she had done for yours.

She cornered the counter, joining you in the bar seats, "You get used to it."

You were too shy to look at her face in case her eyes met yours, but you had no issue with looking at her hands- how big they were, almost making the glass disappear in her grip, the veins running across the top of them that trailed your eyes to her fingers- also strong and thick to match the rest of her.

You caught yourself staring too hard- pulling your eyes away and grabbing your glass, taking another painful sip.

Abby was, of course, oblivious to this, thinking you were just trying to appease her.

-

The drinks got forgotten in the conversations you two shared, and now, sitting with her on the couch, talking like you had known her longer than just a day, but you could thank the alcohol for that one.

You weren't necessarily wasted, but it was the kind of drunk where you weren't really paying attention to what Abby was saying or why she was even laughing for that matter... something about her son? Whatever.

You were, however, paying attention to her face, how beautiful she was, and how her hand so effortlessly settled on your bare thigh, and a warmth that pooled into the pit of your stomach following.

When Abby realized she was touching you, she jerked away and cleared her throat, "It's late-" She stood up, half facing away from you so you wouldn't notice that she- a full-grown, mature woman was blushing, and not only that, but she was blushing over her brand-spanking-new employee.

A small disappointed "oh" brushed past your lips before you ultimately agreed.

It's probably for the best to keep this relationship professional, Abby knew this, but fuck, she'd be lying if she denied the fact she thought about you the moments leading up to her falling asleep that night.

⟢ 𝐭𝐚𝐠𝐥𝐢𝐬𝐭 @aouiaa @macaroni676 @sheluvslilith

[on-the-open-range]

We're still working on character designs so they are largely inaccurate for the warners and max, but this shows age and height comparisons! Character descriptions under read more!

We also included characters that appear outside the farm! Bugs Bunny is the Sheriff of the nearby city. He likes to take on challenges to show off his wit and pawns off smaller outlaws on his deputy, Daffy Duck. At night time, he goes undercover as a burlesque dancer to gain information about criminal whereabouts in town. Babs and Buster Bunny (no relation) live in a town (turning on city) several hours travel away. They both work for the sheriff and deputy. Buster is a deputy in training and Babs does clerical issues and cleans up buster's messes. She has a gun but doesn't use it as much. (Although she IS a better shot than Buster.) The other six characters are various people in the small town close to the ranch, or in the larger city. In order, left to right: Ms. Perla is a middle age dog who works in the same saloon as Mr. Bentley, she is a very serious woman and tends to handle the more complicated costumers but can be very sweet, she lives in a small house in town with her cousin Ms. Katara and Mr. Argus. Ms. Katara works as store clerk in town, she goes to see Ms. Perla whenever she has time during the day, even though she gets scolded, a very enthusiastic woman and very friendly. Mr. Argus works as carpenter in town, he's a widower but a hardworking man that tends to get in trouble with outsiders if they look suspicious enough but a very nice man otherwise, tries to keep Ms. Perla and Ms. Katara safe. Mr. Bentley is a jolly middle aged dog who tends the saloon in town. He always seems to have some long winded story for patrons and enjoys playing the piano at the saloon when he has extra help and he has the time. Mrs. Flame owns the small general store in town. She's a widow but she's very kind and while she doesn't really know the warners, she tends to very secretly give Yakko a discount when he comes in to buy things and hopes he won't notice. Ms. Belle is a stocker that helps Ms. Flame in her shop on delivery days. She's excitable and boisterous and loves making friends, but she's sworn off men for an unknown reason.

[53rdcenturyhero]

..but in which pocket...

The crank handle in the season 1 finale that crowley holds while aziraphale holds his flaming sword is the same one that he used to start the universe with aziraphale and i am sooooooo normal about him holding onto it for thousands of years guys

[kcscribbler]

I would love to think that once everything has calmed down a bit and they've both gone to ethereal/occult therapy or whatever, that we get at least a cold open of them just fucking with each other in a slow crescendo of nice and accurate passive-aggression.

Aziraphale: *turns all the door handles on the Bentley yellow*

Crowley: *uses a book as a coaster*

Aziraphale: *miracles a 'wish you were here' postcard through the flat's mail slot*

Crowley: *chucks a CD of Vivaldi's Who Needs You into the bookshop's Heaven portal*

Aziraphale: *sends Muriel over with tea and an angel food cake*

Crowley, walking into the neighboring florist: What've you got that says over my discorporated body

Lesley the International Express Delivery Man, staring at Heaven's escalator for the thirteenth time this week: ...Can we be done with this now

[ineffable-suffering]

INEFFABLE META MASTERPOST

Because I'm slowly losing count and need to organize. So, here's all my self-written metas or ones that I reblogged with my own added theories and commentary! In rainbow colours, naturally.

1 – Aziraphale, I love you. But you lied. And here's why. My most lengthy and proudest meta about the Final Fifteen and why I think Aziraphale lied on purpose. (Also: The absolute darling @esthermitchell-author bravely fought their way through it and wrote up some more interesting points and different takes on what I came up with. If you want to go down a S2 rabbit hole with us, go read it here.)

2 – Why Aziraphale is an unreliable narrator (links below) A three-part meta in which I try to analyse and explain that all of the minisodes in Season 2 are not objective narrations but actually Aziraphale's memories.

Part 1: The Story of Job

Part 2: The Story of wee Morag

Part 3: The Story of the Magic Show in 1941

3 – The Jane Austen Ball and why it was never about Nina and Maggie A meta in which I go into unnecessarily great detail about how the Whickber Street Meeting Cotillion Ball was meant to be Aziraphale's confession to Crowley.

4 – Crowley & Aziraphale were never free (reblog) A reblog of @baggvinshield's post in which I explain why miscommunication is the single biggest ineffable enemy in Season 2.

5 – In Defense of Aziraphale (double reblog) A double try at explaining why I think Aziraphale's POV in the Final Fifteen is just as horrible as Crowley's and why I don't think him "choosing" to go back to Heaven was the only point of his character journey.

6 – The Art of Miscommunication: Ineffable Edition A meta in which i once again explain why miscommunication is the single biggest ineffable enemy in Season 2.

7– Season 2 Bookshop Shot Meta A meta where I briefly loose my mind because of a single bookshop frame in Season 2.

8 – What if it wasn't Aziraphale and Crowley who performed the 25 Lazarii miracle? A mini-meta in which I propose the theory that Jimbriel helped with the miracle to hide himself away from Heaven & Hell.

9 – Things in Good Omens Season 2 I still find weird (reblog) A reblog of @ok-sims and many other great OPs' thoughts on the weird loose strings in Season 2 and what unanswered questions I still have myself.

10 – The Deleted Bookshop Scene (reblog) A reblog of @skirtdyke's video and @i-only-ever-asked-questions' smart thoughts on it, with my own overly-excited 'what that could have meant for the "It's too late" line'-theroy.

11 – The Bentley Handle Easter Egg A meta I can proudly say has been liked by none other than Mr. Neil Gaiman himself about Crowley's Bentley handle that might have existed before the Bentley ever did.

12 – The F*cking Eccles Cakes A meta where I briefly loose my mind because of a pastry. (Addendum: People said very smart things in the comments of the post!)

14 – Re: "You go too fast for me, Crowley" A meta in which I make myself sad by connecting that infamous line to Aziraphale assuming Crowley wanted the Holy Water as a suicide pill.

13 – Trauma-Dumping on your plants: The Anthony J. Crowley Chronicles A meta on why Crowley treats his plants the way that he does.

14 – Demonic Mental Health Awareness Post In which I talk about why I want to get Crowley a therapy voucher.

15 – The Curious Incident of The Flaming Sword in Good Omens A meta on why the Flaming Sword has no deeper meaning. Or does it? (Updated: here's a reblog from @queerfables who did a wonderfully exellent job at calmly explaining all the swordy questions I was yelling about! Consider this meta solved.)

16 – Ceci n'est pas une plume A meta in which I'm a bit of a nerd for language and also explain why learning French and magic the human way says so much about Aziraphale as a character.

17 – The meaning of "I forgive you" A meta in which I explain what both "I forgive you"s mean and why Aziraphale will always fight for what is right until he wins. Also, the lovely @sharksbeerr translated it to Chinese on Weibo!

18 – Memory, or the lack thereof, in Season 2 A little reblog on how memory is a big and unresolved, leaky-bucket theme in Season 2.

19 – „It‘s always too late.“ (ft. Crowley‘s watch)

A short meta about that lines from Season 2 that won‘t leave my brain (and also Crowley‘s mysterious watch).

Addendum:

The one non-spoiler-y ask I could come up with about S2 that was actually answered by Neil, yay!

Also, this wholesome little post I added to that Mr. Gaiman also reblogged. :‘)

*** This is a work in progress and will get updated every time I post a new meta! ***

[chronologicalerrors]

Why Crowley Was an Archangel, And Why it Matters: A Fan Theory

Neil Gaiman has said that Season 2 is a bridging season, setting up what is to come in Season 3, which will be based on a story he and Pratchett outlined many years ago. This season is therefore moving characters into place and establishing facts and mechanics of the Good Omens universe that we need as an audience in order to understand what comes next. It moved Aziraphale back to Heaven, and removed Gabriel and Beelzebub. This season has also been heavy on the references to Crowley’s past as an angel.

Season 2 of Good Omens has been practically inviting us to speculate on who Crowley used to be. If we’d just been given that one glimpse of him in the first scene I wouldn’t make so much of it, but we also saw him return to heaven in disguise and reject an offer of being returned to full angelic status. We have to conclude that there’s been so many sustained hints at this because it will be important next season!

Some of this has already been suggested by others, but GO2 has taken over my brain and I need to write this all out. So, let’s have a look at what we already know about Crowley’s angelic past in-universe, and what else we might be able to guess at from that. 

What’s special about Crowley’s powers?

Crowley is the only demon or angel who is shown being able to stop time. When asked about this Pre-S2, Neil Gaiman said the following:

We first see him do this in Paris in 1793, and the second time to speak to Adam to avert the apocalypse at the end of S1. The first time was something he did casually, while the second required a huge burst of power – it needed to hold off Satan, after all - and happened at Aziraphale’s urging.

A: Come up with something or… or I'll never talk to you again.

(GIF from fyeahgoodomens. There’s a collection of gifs of Crowley stopping time through S1 here.)

When we see him stop time this season, in Edinburgh in 1827, it’s also directly at Aziraphale’s request:

This bit is absolutely key to me, as this establishes that stopping time is something Crowley can do that Aziraphale cannot.

This also seems tied to the crank handle of his Bentley. When Crowley has stopped time to hold off Satan, he is gripping the handle in the same way Aziraphale carried his flaming sword, and spins in when he comes to restart time.

C: I'm going to start time. You won't have long to do whatever you're going to do.

By itself, this doesn’t mean anything. Until we see the same handle at the start of Season 2, in the hands of Angel Crowley. He uses this to start up his nebula, as a tool for setting time into motion.

Is this the same handle? It certainly appears this way. Like Aziraphale’s flaming sword, was this a gift from God that he’s managed to hang on to for thousands of years (And it just miraculously happens to fit his Bentley)? It certainly seems that the Bentley crankshaft handle is more than it seems, and that Crowley can use it as a conduit for power – as he needed to when stopping time to hold off the ruler of Hell himself.

The link between this object, a relic from his time in heaven, and his rather unique ability to stop time, suggests that Crowley was once an angel of great power.

What rank did he hold?

We saw Crowley return to Heaven, in disguise, in S2 E6, with events hinting that he was once a very high-ranking angel:

So, we know for a fact he was above the level of Thrones and Dominions. So where does this place him on Heaven’s organisational chart? My analysis here is metatextual – I don’t think looking at external hierarchies of angels is that helpful to understanding the Good Omens universe, so I will only focus on what Neil Gaiman has confirmed when asked, or has been demonstrated within the world of the show itself.

Good Omens has its own Hierarchy of Heaven, but Neil Gaiman has clarified that the Archangels we see are amongst the most senior personnel in Heaven. This runs counter to many hierarchies of angels (which are often contradictory in and of themselves) but is consistent with the depiction in John Milton’s Paradise Lost as well as Jewish tradition, where the highest ranking Archangels are given the title of “princes” of heaven. “Prince of Heaven” is also a term that Metatron applies to Gabriel in S2 E6.

Of the heavenly entities mentioned in the show, we can infer the following angelic hierarchy:

God

Metatron (NG confirms here)

Supreme Archangel (Gabriel, now Aziraphale)

Other Archangels (Michael, Uriel, Sandalphon, in that order – See NG here)

Cherubim (Aziraphale at the Garden of Eden, when he was the Angel of the Eastern Gate –NG Confirms here)

Thrones & Dominions

Principalities(?) (Aziraphale after the Garden of Eden – NG doesn’t state if this is a promotion or demotion, but it feels very demotion-y)

Other lower-ranking angels (As a Principality, Aziraphale was supposed to lead a platoon of angels into battle in S1 – so there must be many levels below him – see NG here)

Scrivners (Muriel and the level Gabriel would have been demoted to. Appears to be the lowest rank in Heaven, suggested by NG here)

There are likely many other levels in-between these that have not yet been mentioned onscreen. Saraqael, for example, seems lower down than an Archangel (addressing Michel and Uriel as “your beatitudes” before approaching them in Episode 1), but above Aziraphale. You’ll notice Seraphim aren’t in this list, because they’ve not been mentioned on screen – but I suspect they do exist in this universe and are a class below Archangels but above Cherubim.

This doesn’t necessarily mean that Crowley was an Archangel, but confirms pretty explicitly that he was once near the top.

So who was he?

Neil Gaiman has stated that his name when he was an angel was not Crowley/Crawley, and the first scene of Season 2 sees a bit of redirection when Aziraphale tries to get angel-Crowley’s name:

This is quite deliberate, and sets up his name as something important to be revealed later. However, I can’t see why his name would matter to the narrative, unless it’s something recognisable from biblical canon – or, that it’s not necessarily his name, but his rank as an angel that was important.

There are numerous pointed references throughout Season 2 to Archangels, in such a way that feels like the show is setting up for this to be revealed in the future. The misdirection about Angel-Crowley’s name may have been because Aziraphale was likely to have recognised the name of an Archangel.

More than this, I personally do think, that before his fall Crowley wasn’t just any old Archangel, but the Supreme Archangel. This is based on the following 7 points (you know God likes sevens):

The very deliberate way the camera pans to Crowley’s impassive face after Gabriel says “I’m the only first-order Archangel in the room or, you know, the universe.”

2. Metatron’s statement, “For one Prince of Heaven to be cast into the outer darkness makes a good story. For it to happen twice, makes it look like there is some kind of institutional problem.”

While it’s quite clear that we’re supposed to associate this line with Lucifer himself (and yes, I know NG confirms that's who this was alluding to!), it’s interesting that ‘Prince of Heaven’ is a title associated with Archangels in Jewish tradition and very specifically with Gabriel on screen in the universe of the series. That Jimbriel also repeats this line to Crowley in the bookshop specifically feels significant...

3. Crowley also recognises Metatron in the bookshop, where no other Archangel does. Metatron deliberately avoids using his name in this scene, calling him ‘demon’. Which is not inaccurate, but may suggest the Metatron remembers Crowley’s angelic name. It may also explain Metatron’s very dark look at Crowley as he exited the shop – the two of them have some history.

4. It’s never stated explicitly that Gabriel hasn’t always been the Supreme Archangel since the beginning, but there’s enough vagueness in the text to guess at this. When Michael and Uriel are discussing what to do in Gabriel’s absence, Michael and Uriel have this exchange:

M:There is, of course, no question of replacing the supreme archangel. I am the Archangel Michael, you are the Archangel Uriel. U: We aren't in charge. Right now, as of this moment, Heaven does not have a supreme archangel. M: There is always a supreme archangel.

“There is always a Supreme Archangel!” not “Gabriel has always been the Supreme Archangel!” According to some traditions, the Supreme Archangel was the first angel ever created, which would support Michael’s statement: There is always, and there always has been, a Supreme Archangel, since the time of creation. It’s possible that someone else held this role pre-Fall, and Gabriel was appointed as successor after the War in Heaven.

5. The way the other Archangels behave around him. There’s a wariness, but also a strange deference. On being discovered by Saraqael in heaven, they don’t immediately throw him out, but let him watch Gabriel’s trial – even ordering Muriel to show him it. Michael and Uriel then follow him back to Earth without much fuss, giving him quite a look, while Crowley seems to be enjoying himself:

(This also feeds into why I think Crowley looked so different during the Job segment. He knew he might encounter a few Archangels he’s not seen for a thousand years or so, and so appears in disguise.) 6. The lightening! I’ve seen someone point out that Crowley’s electric temper tantrum in S2E1 mirrors the lightening used by Gabriel to travel to Earth in S1E6. This could be a coincidence of VFX, or it could be a Clue.

7. That last conversation between Aziraphale and Crowley:

A: I don't think you understand what I'm offering you. C: I understand. I think I understand a whole lot better than you do.

That’s such a weighted statement, and could be interpreted in so many ways. But, viewed in this light, it sounds like a warning from a former angel who used to be very high up in Heaven indeed – and has absolutely no desire to return there.  

Why does any of this matter?

Obviously just theorising here…

The story is setting us up for a reveal here – Crowley’s status as an angel, and who he was before the Fall is clearly going to factor into Season 3 in some way. Why tease us with it so much and so often if it’s not important?

In terms of the narrative, a powerful revelation would be that Crowley used to have Aziraphale’s new job. That it led him to asking questions about the Almighty’s plan and then, ultimately, falling. And that the Supreme Archangel, for one reason for another, eventually turns against Heaven – it happened to Crowley, to Gabriel (after a few thousand years), and then will have to happen to Aziraphale too.

I could be way off here, but at some point the show needs to explain why Crowley is so different from other demons and has powers that no other demon or angel seems to possess. A reveal that he was once very, very senior in the organisation of Heaven, before asking too many questions and being cast out, would serve as a explanation and be a meaningful development to the narrative of Season 3.

I don’t think we’ll necessarily get a name (because we don’t need one) – but I do think we will get a rank or some idea about who he used to be, and that’s what’s going to be significant. TLDR: Supreme Archangel Crowley!?

[sayuri-of-the-valley]

If this really is a ball bearing, you know what has ball bearings inside it? A crank handle.

Just sayin.

Michael babygirl, I apologize now for the close-up screenshots of your mouth I am going to put on the internet. Call Neil if you have issues with it, it's his fault.

Honey, why are you chewing on a ball bearing? I was going to be lenient and say it's a glint off of some saliva but nah she's suckin on a damn pie weight. I didn't see her take a bite of any dippin dots, did you? Who let her near my stash of Buckyballs that I was hiding from the Consumer Product Safety Commission? Just because you are bbgurl doesn't mean you get to eat bbpellets.

[embracing-the-ineffable]

Ineffable discontinuity and the Bentley's roadtrip transformation: new back doors and other changes (after it was yellow), and Crowley... didn't notice?!*

*Also, as a side observation, did he leave the Bentley window open during the ball and everything that happened after? Why?

Have you been longing to be even more perplexed by the ineffable discontinuity of Good Omens season 2? Do you love endless data in the form of screencaps? If so, then please join me on this wild ride! Here are some highlights:

Top photos: Season 1, episode 6, after Adam reboots reality; S2e2, before Aziraphale's e3 road trip. The Bentley is a gray and black 2-tone car with 2 doors (only 1 handle is visible on each side).

And on the bottom is s2e5, while Crowley is driving, it's a solid black car with 4 doors and smaller silver hubcaps.

(edit: For those of you thinking about the different Bentley models used in s1 vs s2 (discussed in detail below), or the difference between the full car and half car set, just those three full car pictures above demonstrate that the new s2 Bentley model is NOT the reason for this mid-season shift. For more details about the half car set plus other ways to tell the Bentleys apart - without talking about color - see my newer post with handy diagrams, here.)

And the s2 interior?

Here's e1, after Crowley talks to Shax, and e3, as Aziraphale arrives in Edinburgh (which is also when the Bentley debuts as a 4-door). And look at this blocking - how both characters are posed so similarly with their backs to us in these shots!! It's so deliberate! :

And look at the seats! In e2, Crowley is talking to Shax again, and in e5, Crowley just parked the Bentley before the ball:

When Crowley, who is so tuned in that he senses the car is yellow and driving too slow even from a distance, sees the "new" Bentley in e4, he doesn't act as though anything has changed, he just happily and purposefully walks up and opens the back door that was never there to put his plants inside.

THE BACK DOOR THAT WAS NEVER THERE

For that matter, Crowley and Aziraphale both seem to be unaware of the changes! This feels like both a metaphor and a functional plot device for season 3. There's more discussion at the end of this post!

Thanks to comments and observations awhile back from @bbbitchvibbbez , I did some careful searching for s2 scenes featuring the Bentley, and this post is the labor of love and irrational obsession result!

If you want to see lots more Bentley screencaps and discussion, including Crowley nonchalantly using the new back door, and possibly also leaving the Bentley window open during the ball and everything that followed, please keep reading:

Some background and context:

Ok, so there was a different Bentley "actor" for s2. The s1 actor was a 2-door, the s2 actor is a 4-door. If you look carefully, you'll see that in s1 the backseat side windows are smaller than the front side windows. In s2, they're the same size. I talk more about the windows - with handy diagrams! - in my newer Bentley post, here.

There's also been some controversy about the interior color of the s2 Bentley, black vs brown, and how that could relate to the s2 body swap theory; here are details about that from @lonicera-caprifolium and @picturesque-about-it. I don't think my findings support (or disprove) that theory, but take a look at what I found and see what you think!

(*Please don't ask Neil about any of this, he's already given us the answers he wants to give, and he's not going to spoil the surprises in s3 now by telling us what's really going on!*)

Here's the episode/scene breakdown:

S2e1 on the street with Shax - gray, two toned, two doors (one visible door handle on a side), brown interior - both the seats and the inside panel of the door. Notice how the door is hinged at the back, and opens opposite the way most modern cars do (this is called a suicide door):

More s2e1 photos, the Bentley is in a lot of scenes this episode and as far as I can tell it stays the same gray 2-door for the whole episode, but it's frequently in dark lighting to make it harder to tell it isn't actually black (I've brightened most of these shots). It also has larger silver hubcaps, and I notice consistent brown seats (these interior pics are from three different scenes):

In s2e2, the Bentley is only in two scenes, and it's the same as s2e1. Now, you can see in the larger photo below that it's obviously not the SAME as s1 - the backseat side windows are too long - but the production team DID try to make the new Bentley "actor" look the same as in season 1. It's a gray 2-tone car with 2 doors (1 handle visible on each side) with larger silver hubcaps. As an aside, what's with the red lights on the car in this shot?? I mean, yes, it's a reflection of another car's brake lights, but why put that onscreen?

Also, in case it's relevant, Crowley is wearing his turtleneck throughout this episode, and still has the silver-sided glasses from e1:

Ok, now we have s2e3, and as Crowley meets Muriel and gives Aziraphale his car keys, we see he's no longer wearing the turtleneck, AND this is when his glasses change to black-sided ones:

Outside, we see the Bentley looks the same as the rest of s2 thus far, as Aziraphale sets off for Edinburgh. Gray 2-tone, brown interior (with window bullet hole decals very visible), with larger silver hubcaps. There's only one handle visible, so it's still meant to look like a 2-door:

Ok, here's where things start to change! Azi is driving and the Bentley is yellow. The seats might (?) be black, there's still only one door handle on the side, the silver hubcaps are still larger. But when he "changes it back", NOW it's black:

And by the time he pulls into Edinburgh, Transformation Complete. (Did Something Else Happen?? Or is this an effect of Aziraphale finally being welcome to take care of this extension of Crowley? More speculation at the end!) It's a black 4-door, two handles clearly visible on the side, with smaller silver hubcaps:

And the interior? The door panel, at least, is black now - and it has a texture that wasn't there when it was brown. Here's e1 next to e3 (and appreciate, again, this very intentional parallel blocking of the two actors!):

In s2e4, we see the Bentley in two scenes; at the beginning when Aziraphale meets Shax-as-hitchhiker, where we see the bullet holes and the black door lining, and at the end when the Bentley is reunited with Crowley:

When Aziraphale parks the Bentley back at the bookshop, we see the bullet hole decals and that it's still a black 4-door:

So he goes to meet Crowley, they come back with the plants. We can see that the camera is to the rear of the car, and the front of the car is to their left. They're standing on the left side of the car. If Crowley opens the door, we won't see the interior door panel, right? Because the Bentley doors are hinged on the back, instead of the front, so the door will open towards us:

WELL. Mx "I can feel when you drive below the speed limit" and "change it back!" Crowley very eagerly walks up to the BLACK car, greets it with some sweet baby talk, and then opens the suddenly-existing BACK door with a hinge on the front (so it opens away from us) as if this is All Perfectly Normal, and we can (barely) see the door lining and it's BLACK and textured:

A few more shots of Crowley, standing at the brand-new back door of the Bentley, still wearing those black-sided glasses:

And in case you're wondering, in s1e2 when Anathema gets a ride in the Bentley, she climbs into the backseat from the front driver door, and she climbs out through the front passenger door. There wasn't a back door on either side. Here she climbs into the Bentley, and you can see Crowley fold down the front seat, and there's clearly only one door on that side, and it's hinged at the back. (When she gets out on the passenger side, it's harder to see, but you can tell that door is also hinged at the back.) :

In s2e5, Crowley drives the Bentley to the bookshop, and then we only catch a few small glimpses of it while Aziraphale is recruiting shopkeepers to the meeting/ball. Here's Crowley driving the black 4-door Bentley with small silver hubcaps, and here he is getting out of the car with black seats. The front door is still hinged at the back, as it always has been. The window is open - his hand is reaching through to open the door - so we can't see the bullet hole decals:

The next time we see more than a hint of the Bentley, it's the end of s2e6 and Crowley is standing next to it, watching Azi leave with the Metatron. It's still black, with 4 doors and black seats and smaller hubcaps. We don't see the bullet hole decals, but perhaps the window is still open from when he parked it in e5? (And WHY would he leave the window open? Was someone supposed to come by after he parked it to deliver something to the Bentley, or take something out?) Emotional photos ahead:

I over exposed that last picture, to make the colors really easy to pick out. The seats are absolutely, definitely black.

So... what does it mean? Why did it happen, and why didn't Crowley notice or react?

I love the metaphor that Aziraphale subconsciously created a back door for - or into - Crowley, especially with all those references to the "back channels" of communication between heaven and hell. I'm thinking it could represent - or actually be - another way for them to communicate, or like another entrance to his heart; it's something that Aziraphale doesn't realize he changed or added and that Crowley hasn't noticed yet either, even if he's making use of those changes on some level. I'm sure other metaphors could also fit!

And I'm reminded of something @theeminentlyimpractical said, "Crowley, despite his whining, fully accepts the idea of "our car," which fundamentally transforms the Bentley". That post was liked by Neil, so there could definitely be something to this "our car" transformation line of thinking.

So, was the transformation a subconscious effect of Aziraphale finally being welcome by Crowley to drive the Bentley, and caring for and taking responsibility for this part of Crowley? Or did Aziraphale consciously do this, or did Crowley? Or maybe the Bentley is sentient, and it chose to be bigger/different now, to accommodate both of them. Or did the change happen in response to Something Else We Didn't See?

Is Crowley's (and Aziraphale's) apparent non-reaction another example of an unreliable narrator or some memory tampering? Is manipulation of the Book of Life involved? Are there multiple timelines? Is someone time traveling? Or is it just that Aziraphale and Crowley already discussed the changes off screen, before Aziraphale left Edinburgh?

If Crowley noticed the changes, I would have expected a comment about them. Either, "change it back!" or a reluctant, "those are changes I can live with", or... Something. But instead, the production team went to some trouble to make sure the hints are there, but hard to spot (you can review the similar, careful s1 hints about the appearance swap here, from @fuckyeahgoodomens); as opposed to, for one example, the way they very clearly pointed out Maggie's mysterious spelling mistake, both on screen and in the dialogue. So I feel reasonably certain the Bentley's transformation is a careful, subtle hint about a Secret Something Important That Will Be Revealed In Season 3. I think it's both a metaphor and a plot device*.

What are some of your favorite metaphors? Your most reasonable theories? What about some of your biggest, wildest, most improbable theories?

*And if you enjoy Good Omens metas, theories, clues, etc, I have a big pinned collection of those from the fandom, here!

[chaotic-orphan]

Intoxicating Fear (XVIII)

New Player on the board

Part one // Masterpost // Continued from here

This part is dedicated to @neongalaxiie for their comment that made me smile today, I hope you enjoy!

*~*~*~*~*

Ambrose got Kit into the car with relative simplicity. He was surprisingly lighter than before, which didn’t concern Ambrose. Not at all, it was just some information he stored in his head in case he needed it in future. Perhaps this time Ambrose can actually feed the hero properly…

Well, he could decide all that on the way. Right now he had to decide whether or not to throw the hero in the boot or in the backseat. He settled on the backseat, it was easier to keep an eye on the hero in case that red lightning guy came back.

Ambrose suppressed a shiver at the thought of that. That thing wasn’t Kit Mallory. Or, not the one Ambrose knew anyways. It did add to his curiosity about the boy, what kind of life he lived with Mentor. Ambrose set him in the backseat sitting up, hands cuffed in front of him with power dampeners just in case. He strapped the seatbelt over Kit and plugged it in before slamming the door shut and walking around to the driver’s side.

Ambrose didn’t exactly drive… under the radar. He was what his assistant would call a petrolhead, and it wasn’t a nickname he loathed. Ambrose had loved cars since he was five and his parents brought him to a vintage car show. He could still remember the first time he sat behind the wheel of a 1954 Bentley R-Type continental, he knew that he had to have one. A car that was, not a Bentley, he wasn’t some wedding chauffeur.

His obsession with cars only grew from there, from his first Volkswagen to now. His beast, his beauty, his pride and joy: a 2016 Rolls-Royce Wraith, with a monster 6.5 Litre Twin-Turbo V12 engine under the bonnet, custom painted black exterior. He had to get Tony to paint the door handles too (who almost cried when she saw it). Ambrose replaced the original wheels with forgiato wheels to add to the sleekness of the car. Original white, leather interior still as good as the day Ambrose bought it.

He loved it more than anything in the world.

And it was all his.

It represented everything that he wanted people to associate with him. Elegant, opulent, and functional, above all functional. The grace, style and status were just perks that came along with it.

It was late, close to ten when Ambrose got onto the main road. He could take the quick way through the backstreets to his house, but he hadn’t seen the city of like lights for what felt like a long, long time. He took the left into the city and drove along at a leisurely pace.

The radio was playing softly in the background, the Wraith’s purrs making up most of the background noise. Ambrose let out a soft sigh as he pulled up to a red light. He glanced in his rearview to see Kit still fast asleep. No red veins or blue ones, his head lolled against the window.

There was something so innocent about the gesture that made Ambrose look sharply away, eyes turning front again. He never had a little brother or sister, but in that moment, some small part of him — some delusional, sentimental part — wondered if this was what it was like. Checking the rearview to make sure that his brother was sleeping soundly, that he wasn’t showing any signs of pain or distress, or psychotic mania.

He wondered if he would be a good older brother in this hypothetical. Then he quickly disregarded the thought. Such a silly little thought experiment. Besides, of course he would be a good older brother. He would be the best, hands down, no doubt about it. Even if his passenger in the backseat would disagree.

His mind was wandering dangerously, simply because it was so quiet. It had to be because it was quiet, so Ambrose turned up the radio louder, but the song that was playing just ended. Instead a news reporter started speaking urgently.

Ambrose shook his head, tapping his fingers on the wheel when the light turned green just beside Hero plaza: well, Mentor’s memorial garden, more specifically.

“Stay out of the city tonight, there is a rogue Villain, perhaps Supervi—”

Ambrose didn’t get to hear the rest of the news report. When the light turned green he was already moving past the intersection, heading straight, driving through the Hero Plaza in the centre of the city.

His eyes were fixed forward so he didn’t see the hailstorm of debris from a shattered building coming from the right. He didn’t see the Supervillain levitating where Mentor’s statue should have been.

Ambrose didn’t see what was happening to his right. More like he heard it. A sudden onslaught of panicked thoughts that weren’t his raced through his mind and he panicked along with them.

What! They’re never this strong! Not unless— Ambrose glanced to his right and saw Villain levitating ten metres off the ground. As if meeting his gaze, the villain threw his hands forward and a hailstorm of debris went racing towards them.

Ambrose hit the gas, manoeuvring the gears quickly as he took off. The debris fell behind the Wraith, some stones clipping the tail end as he swerved a sharp corner, trying to cut off Villain’s eyesight from the car.

Of course, this was the same moment that Kit woke up. His head hit off the window of the car and he groaned, reaching his hands up to rub the bump. “Ambrose?”

Ambrose’s black eyes caught Kit’s in the rearview mirror. Something hard in them alerting Kit to the danger. “We have a problem.”

“A problem?”

Just as Ambrose was about to drive back into Villain’s sight line, debris like meteorites fell in front of them, tearing up the road ahead of the Wraith. Ambrose slammed his foot on the brakes and the pair jolted forwards in their seats.

“What’s going on?!” Kit demanded, searching the windows to try and see what the commotion was all about. Behind them Kit could see a pile up of cars, people screaming and sirens already blaring. “Ambrose!”

Ambrose’s grip on the wheel was white-knuckled, his face paler than usual as his chest heaved up and down. “There’s a Villain by Mentor’s memorial garden.”

“What?! Let me out!”

Ambrose didn’t reply. Kit went to unhook his seatbelt but Ambrose stopped him. “Kit! It looks like they have telekinesis,” Ambrose said through clenched teeth.

It felt as if the debris fell on Kit’s chest, crushing it from the inside out. A disbelieving what? fell from his lips. His vision seemed to narrow to a pinpoint, his lungs slowing his breaths. His voice raised a little hysterically: “what do you mean they have telekinesis?”

“It’s just what I saw.”

“Well you saw wrong!” Kit argued, his eyes wide and desperate. “The chances of another telekinetic—”

“I know—”

“Do you hear what you’re saying?! There’s no way—”

“I KNOW!” Ambrose barked. His own emotions thrown through a loop at the information.

A long, choking silence passed between them, though they were both thinking the same thing: that Villain can’t be Mentor.

~*~*~*~

Four blocks away a new Supervillain was making their mark in front of the Hero plaza. He was levitating off the ground, bits of debris from Mentor’s memorial statue circling around him like moons of Saturn.

Superhero tried not to think about how much this Supervillain reminded him of Mentor. He really tried not to think about it, but he couldn’t stop himself. The likeness was uncanny, and it was rare for two people with the same abilities to emerge in the same city. It happened but it was rare.

Telekinesis. And not just that, a mastery of his ability, how effortless the destruction seemed to him. An unwillingness to yield.

This must be Supervillain, and if it was Superhero was hesitant to engage. Which sounded terrible as the leader of the Heroes but, even leader’s get scared.

Supervillain was fighting four seasoned Heroes and Superhero all at once — not to mention Tides who was the only new recruit there — without breaking a sweat. Superhero had tried to call Kit, but no luck. Supervillain’s face was covered by a mask and he wore civilian clothes, as if this was a casual affair for him. Like he just walked off the streets and decided, why not cause some chaos? Sirens and emergency services rushed to the scene of people in need, people who had been hit by the debris.

Thankfully, it looked to be a small amount of casualties due to how late it was, but still. Something was wrong with the scene, and Superhero needed to find out what. If that Supervillain… was actually Mentor or not.

And if so, how? How was he here? Why had he escaped and turned out like this? What was going on?! A Supervillain? Threatening the city? That wasn’t Mentor’s way… unless this was Omen’s plan all along, to destroy the legacy of a great man. To make the great man a monster and destroy it himself.

Supervillain inclined his head at Superhero, raising his hand palm up and flexing his fingers goading Superhero into a fight. Superhero lunged for him, bouncing from one building towards Supervillain. When he was in mid-air, Supervillain made a wide sweeping gesture with his arm and a hurricane of rocks and concrete hurtled towards Superhero.

He dodged between the initial wave, but he didn’t expect the second. Mentor’s stone arm caught him around the waist and the pair went flying into a building.

While Superhero was distracted, Supervillain turned his attention to Tides. He aimed for the water under her feet keeping her in the air, wiping it away with a sweep of his arm. Tides cried out as she started to fall, but Supervillain caught her, keeping her suspended in mid-air.

Superhero recovered quickly, and went soaring again, taking the wind in his wings with a grin. It felt so good to let them out again. His eyes zeroed in on Supervillain, hoping he would realise Superhero was behind him too late and they could all go home and sleep in their beds tonight.

At the last second, right before Superhero made contact with Supervillain, Supervillain turned their head to Superhero. Superhero’s eyes widened but it was too late, they had committed to the movement, already in mid air. With a sweep of his hand, Supervillain sent Superhero back two blocks, tumbling onto a rooftop. His wings wrapped around him cushioning his fall as he rolled.

Supervillain turned back to Tides who was struggling in his hold and shot towards her. He grabbed her by the neck, and threw her down onto a roof behind her. Tides almost passed out from the impact, her entire body arching as breath was stolen from her lungs. Her body bounced off the concrete, like she was a rag-doll being thrown before rolling to a stop, gasping in air. Supervillain followed her with easy steps, before kicking her onto her back and standing above her. He pressed his foot down on her chest.

“Where’s Malyn?” Supervillain asked, tilting his head. Tides cried out as Supervillain’s foot gathered telekinesis behind it and forced her down into the concrete, cracking the roof around her. A small crater Tides shaped now etched on the rooftop.

“I won’t tell you,” Tides said through gritted teeth. The pressure increased and Tides screamed, her hands flying to Supervillain’s ankle and clawing at it, trying to get it to budge. Supervillain put his hands in his trouser pockets, as if this were a casual conversation, like he wasn’t even breaking a sweat.

“Tell me or I’ll break every bone in your body, Tides.”

Tides abandoned trying to dislodge Supervillain’s foot, and instead gathered a canon of water behind him. She splayed her fingers and the canon blasted towards Supervillain before losing momentum as Tides let out a blood-curling scream.

Her wrist snapped like a twig, leaving her arm useless as she tried to summon water. The pain was blinding, but Supervillain didn’t let up for a second, moving his foot idly from her chest to her broken wrist.

“Where,” Supervillain asked again, leaning forward so more of his weight pressed on Tides’ wrist. “Is Malyn?”

“I don’t know,” Tides cried out, her mind going blank as the pain burned through her, tears blinding her. “I don’t know! I don’t!”

“Hmm,” Supervillain hummed above her. “I don’t believe you.”

Tides screwed her eyes shut and looked away, not wanting to see the final blow coming. She wasn’t masochistic enough for that, quite happy to live in blissful ignorance.

Then the pressure was suddenly off her with a thump of body meeting body and Tides' eyes flew open. Supervillain was gone, and Tides took to sobbing. She glanced at her mangled wrist and felt bile climbing her throat. Every breath was an effort as she tried to sit up and failed, opting to just lay on the roof, motionless and cry.

Superhero shot like a bullet, barreling into the new Supervillain and flying away from the city to the local park instead where there would be far less casualties. Superhero threw Villain down to the ground with a terrifying force and floated down after him.

~*~*~*~

Ambrose kicked the car into reverse just as Kit saw two figures flying over the night sky. “Ambrose! We have to go after them! That’s Superhero!”

Ambrose hooked his arm over the passenger seat, turning to look back out the window as they reversed.

“Do I look like I care?” Ambrose asked, meeting Kit’s glare. “Genuine question, Mallory. Do I look like I give a shit what happens to the number one fuck up in the city? Cause if I do, I need to fix that.”

“This isn’t some joke! Stop the car. Let me out! Let me go, Ambrose.”

“No.”

“That could be Mentor!” Kit yelled after Ambrose turned front again and manoeuvred around the debris in the road. Kit huffed out a breath through his nose reaching for his seatbelt.

“Don’t touch your seatbelt if you know what’s good for you, Kit, I swear to God. I will knock you out again.”

Desperation rose in Kit’s stomach as Ambrose took a backstreet shortcut to get out of the city. Kit could only watch as they passed the park. Superhero was hovering over the trees, throwing a body down into the grass when Ambrose sped past.

~*~*~*~

Supervillain rolled until he gained ground beneath his fingertips and got to his feet two metres away from Superhero.

“Who are you?!” Superhero demanded, voice livid.

Supervillain tilted his head but said nothing. Superhero’s lip curled back into a snarl and he shot off again, leaving a small crater where his feet were. Flying wasn’t exactly a great superpower, but it was what Superhero had and he learned to use it to his advantage in fights.

He flew at Supervillain, drawing his fist back with a roar and aimed for Supervillain’s cheek. Supervillain lifted his forearm, diverting the blow. He punched Superhero in the gut, a jab, then an uppercut. Superhero dodged back, pushing off his heels as his hands outstretched going for Supervillain’s porcelain mask.

Supervillain ducked, swiping Superhero’s legs out from under him. Superhero dropped, his back barely hitting the ground before he launched himself towards Supervillain.

Supervillain moved with speed and grace, as if he’d been fighting all his life, and he didn’t even seem to be breaking a sweat. Superhero, on the other hand, was tiring quickly, not used to the amount of power and focus he was using to try and land a hit on Supervillain.

Supervillain went to sweep his arm. Superhero caught it with a death grip, grinned and spun. Planting his left foot in the ground he pivoted and threw Supervillain as far as he could. Supervillain went flying backwards, getting caught in the leaves of a tree. The branches split and broke around him, a tear in the earth opening from where Supervillain had split the tree open to let himself down.

He wiped the leaves off his shoulders and Superhero grinned. Maybe he can be beaten. Superhero launched himself at Supervillain again, not giving him a chance to recover.

“Enough playtime.” Supervillain said.

Supervillain lifted a hand lazily and Superhero froze in mid-air, the air turned against him, freezing him in place. Superhero’s eyes widened. That’s not possible. There’s no way that he’s… that that’s Mentor, there’s…

Villain walked slowly towards Superhero, taking his sweet time about it. He stopped in front of Superhero, mask to face. “Don’t you recognise me, Superhero?”

Superhero flinched at the voice. It was disguised, which… no, there’s no way that was Mentor. Mentor was always transparent and never wore a mask. He wouldn’t.

But then again… that’s when Mentor was a hero, a symbol of peace and justice in the city.

Villain reached out and grabbed a fistful of Superhero’s hair, yanking his head back. Superhero grit his teeth but didn’t cry out. “Where’s Malyn?”

Superhero’s shock must have shown on his face. “What?”

Villain yanked their neck back farther and Superhero couldn’t contain the groan from the strain. “Malyn. I want him. Now. Where. Is. He?”

Superhero frowned. Surely Mentor would know where Kit lived? But then… no, he wouldn’t. Kit moved after Omen drove Mentor crazy.

“You won’t find him.” Superhero said, huffing a breath out through their nose. Supervillain hummed. He stepped back and clicked his fingers. Superhero’s body moved at an impossible speed, back snapping against the bark of a tree and Superhero cried out.

Supervillain didn’t stop. He was dragged back along the dirt by his ankle, as if being pulled by an invisible lasso. He blacked out from the blow, but his brain shot him back into consciousness as his back was dragged harshly over the terrain. Supervillain came into view again. Superhero’s body was forced up as if suspended from the air, hanging like a limp puppet.

“Malyn, Superhero. I don’t have the patience for this game of cat and mouse.”

“Why… why are you—” Superhero’s breath hitched as his body contorted against his will. “D-doing this?”

“I want the boy. If you don’t bring him to me in three days, I will destroy the rest of the city, and all of your pathetic heroes.”

Supervillain closed their hand into a fist and Superhero screamed. “Have him meet me at the Hero Academy, 10pm. Alone. Any funny business and I’ll make sure that Tides dies, do you understand?”

“T— Leave Tides alone! Take- take me!”

“Oh, I would,” Supervillain said, opening his fist again. Superhero fell to the ground, his head slapping off the dirt. Supervillain crouched down in front of him and with a gloved hand tilted Superhero’s chin up. “But you have the best chance of getting me what I want. The boy for Tides. Hero Academy. Three days. 10 O’clock, got it?”

Superhero let out a broken breath of air which Supervillain took to mean yes. Villain slapped Superhero’s cheek. “Good boy. At least you still know how to take orders.”

Villain disappeared after that, leaving Superhero shaking in the dirt.

~*~*~*~

Ambrose didn’t even bother to make Kit forget the way to his house. If he was honest, he was exhausted. This was not how tonight was supposed to go. They pulled up to Ambrose’s house, stopping in front of two giant gates. Ambrose pressed a button and the gates opened.

“What are you, Batman?” Kit asked as he took in the mansion they were driving into. Ambrose chuckled at the comment but didn’t reply. The gates closed behind them as they drove in. The driveway was long, like something out of a movie and had a fucking roundabout at the entrance to the house.

Ambrose opened the door and stepped out. He walked around to the passenger side and opened Kit’s door, pulling the seat forward. “You can get out now, child.”

“I’m not a child,” Kit grumbled, obeying the order.

“Yes, you are,” said Ambrose with a sigh. He slammed the door after Kit got out, locking the doors over his shoulder with a click of his keys and a flash of lights. “You don’t do anything without being told, and you push boundaries like a fucking toddler.”

“Yeah, your stupid enforced boundaries because you’re a fucking control freak, and everything has to go Ambrose’s way! Right?!”

Ambrose ignored him, unlocking the door to his house and holding it open from Kit to follow. Kit scoffed and walked inside.

“You know this whole silent brooding thing is really starting to piss me off!” Kit told him.

Ambrose shut the door and locked it. “Your irritation is duly noted. I’ll file it under I don’t give a fuck.”

Kit whirled on Ambrose again, about to tear him a new one but paused. Ambrose stood pinching the bridge of his nose, letting out a long, laboured sigh. Kit bit back his gripes.

“Tell you what,” Ambrose said eventually. His voice soft and so un-Ambrose like. Tired, Kit realised. It was as if all energy had been zapped from him after the drive, and maybe it was. Adrenaline had a habit of doing that to you. Ambrose took the key for the cuffs out of his pocket and tossed it. “You can sleep on all of the names you want to call me, and tell me over breakfast tomorrow.”

Kit caught the key, eyes wide with surprise as he unlocked the cuffs around his wrist. He glanced up at Ambrose, but Ambrose was already making for the stairs with tired movements. He lifted a hand without turning back to face Kit.

“Take whatever room you want. I honestly couldn’t care less.”

Kit stood shocked as he watched the villain ascend the staircase straight from the titanic to the second floor. Disbelief ebbed to his own wave of sleep that overtook him and he followed Ambrose up the stairs. He could think more tomorrow. Sleep would bring clarity. He could think logically in the morning.

Kit took the door closest to him and kicked off his shoes. He pulled his jacket off, unzipping his jeans, stepping out of them as he fell into— fuck this was probably the most comfortable bed he ever lay on.

That was his last thought before the blackness swallowed him, eyelids falling heavy over his eyes.

*~*~*~*~*

Continued here

Orphanage roll-call (lmk if you wanna be added or removed): @beatenbruisedandbloody @404lunar1216 @whumpyworld @nameless-beanie @andithewhumper @annablogsposts @whumpasaurus101 @0eggdealer @rejectedbytheempty @sleepy-pearl @n3rv0usn0v4 @whumpatize-me-captain @sunshiline-writes @burningkittypoet @honeyed-euphrates @sacredwrath @theonewithallthefixations @acer-gaysimpstuff @m3rakii @xxgalgurlxx @princess-bubble-blossom @blood-enthusiast @steh-lar-uh-nuhs @andtheysaidspeaknoww @dutifullykrispyland @mononeigbour @tippytappytyping @stefaniesblogs @shinokoro @bedtimescenarios @whatwhump

[lookingatacupoftea]

I will always love that Crowley's idea for saving Aziraphale from embarrassment -- remember, Aziraphale can handle a few humans and a gun just fine, as long as there's no miracle blocker -- is to bomb the building they're both standing (or prancing) in. He is simultaneously the best and the worst knight in shining black Bentley ever.

[flameraven]

I feel like the yellow Bentley is such a clear example of the conflict between them -- the whole problem is that Aziraphale changes the Bentley to suit his tastes, and doesn't respect Crowley's.

(I know some people think the Bentley herself changed color. I don't think so. Crowley wouldn't have told Aziraphale "change it back!" if so.)

Like, Aziraphale calls it our car, even though he hates the way Crowley drives and never stops complaining about the speed and the music whenever we see him in the Bentley. And as soon as Crowley capitulates and lets him drive, he changes everything about the Bentley to match his preferences. Making it His Car, not Our Car or Crowley's Car. Aziraphale doesn't seem to understand why this is a problem, and I feel like it's a part of why he's not understanding why Crowley is so resistant to being an angel again. From Aziraphale's perspective, they're the same thing, but the yellow is prettier-- so what does it matter? From his perspective, Crowley is the same whether he was an angel or a demon, so what difference would it make to change Crowley's wings white again? For him to come back to Heaven?

The difference is that Crowley chooses one and not the other. Good Omens is all about choosing who you want to be. Crowley's car is not yellow, it is black. He likes black and red and grey. He didn't choose to Fall, but afterwards, he built a life and a persona for himself that he chose. He doesn't want to be an angel again, and it is not Aziraphale's place to decide what he thinks would make Crowley happiest. Aziraphale needs to listen to Crowley and respect his choices if they're going to reconcile.

I read your meta on the manipulation the Metatron used on Aziraphale, and it was such a great essay laying out every detail. When I watched the end of the episode it was early morning for me and I was super tired and I missed a lot of those details. What did manage to come through in my sleepy mind, was that I was very confused about Why This Happened? As in, I understand now that Az was manipulated, I definitely agree with that analysis, but I don't understand yet if this decision was foreshadowed anywhere in the first 5 and a half episodes. I haven't rewatched the season yet (too busy reading meta lol) but I was wondering if you had any thoughts on that?

I just feel like, other than Aziraphale saying in the first episode that it's nice sometimes to tell someone about something good you've done, now that he's not reporting to heaven, Az doesn't actually seem to care all that much in the present day about his old allegiance. I wonder if maybe that's part of the point? He didn't want Heaven anymore and so he wasn't thinking about it? After all, the show begins with Aziraphale enjoying his new life. As the interviews said, he's living his best life. Good music, good food, and the love of his life.

Because if that's genuinely the case, then perhaps the point of the season is that the soft gentle romance of the first five episodes is Who They Are, and it's just that Aziraphale was rushed and manipulated into something he genuinely did not want even a little bit.

Or maybe he always thought he could fix it, because of the Before The Beginning where Crowley said, "If I was in charge, I'd want people to ask questions." Maybe that planted a seed in Azi's mind. Maybe Azi does want to run Heaven, only in a way that Crowley could be proud of it again. Fix it FOR Crowley. Even though Crowley doesn't want that (and Azi maybe doesn't understand that yet).

I came into your askbox intending to ask a simple question about your thoughts, but I have instead written an essay and asked for one in return. Consider it a quick temptation lol

Temptation accomplished hehe - though a little later than I'd have liked. No though genuinely I love this sort of thing a lot and really appreciate all of it. Anyone please feel free to do this at any time!

But uh so. Since that first meta I've done a lot of stuff breaking down that last scene here and also breaking down Aziraphale and the minisodes from this season here. Both of these operate ascribing to the idea that Aziraphale has been threatened into pseudo compliance on top of the active manipulation the Metatron was doing to him. I'll admit this is the theory I currently favor. But, while that's something I find more thematically interesting and also in more narrative alignment, I do still think there's narrative weight to this on its own.

And I think in the case you've got it dead on with the idea of fixing Heaven FOR Crowley.

Most significantly I think this is viable in the way Aziraphale views Crowley. Like. We know he thinks Crowley is Good and that he has thought this for a very very long time. Arguably his instincts have been telling him this since even before he could consciously put it into words given that even as early as Eden he was being honest with Crowley - a thing he even then did not feel he could do with God Herself. Despite being Fallen, Crowley is safe. Crowley is right. Crowley is Good.

Despite is important here. Because it is notably not and. The lesson being taught here is not that Hell can be Good. In fact Crowley himself actively encourages this idea. I'm not taking you to Hell because you wouldn't like it. My lot don't send rude notes. I need a weapon that could destroy me to keep me safe from Hell. I'm a demon: I lie. A demon could get in a lot of trouble for doing the right thing. I'm a demon, demons aren't nice- You're an angel you can't be tempted. You're an angel - you can't do the wrong thing. All of these things in culmination with the way Crowley talks about his Fall to Aziraphale - I didn't really Fall just sauntered vaguely downward - sets Crowley up as unique in the way he transcends what he is.

Meanwhile Aziraphale has been learning the hard, slow way that the people running Heaven do not necessarily have good intentions and more critically that they are not in alignment with what God actually wants. The problem is the management. The angel who would become Crowley said as much himself.

He has every reason to believe they fix it together too. He now knows that together they can perform archangel tier miracles while they're both actively trying to hold back. He knows that even when they're making mistakes and fumbling through the apocalypse they can help defy the world ending. He knows that they are perhaps the only two beings alive that even remotely understand God's will.

So here's Aziraphale given the opportunity to put himself in charge along with theoretically the single most Good being he's ever met. Of course that's appealing. You could give the person you love the power to create again - something we are explicitly shown at the beginning of this season to bring the angel that would become Crowley more joy and delight than we have literally ever seen Crowley have on screen - and the power to create a world together that actually deserves to have that person? You could undo something that you've slowly been coming to terms with believing should have never been done to him in the first place? You could be Adam, rewriting the end of the world and making it so the Bookshop never burned. All you need to do is change the color of the paint job.

Because he'd never change Crowley. He loves Crowley. Crowley is Good already it's not about making him better. The bit with the Bentley is the scene this season that encapsulates this sort of worldview most. Aziraphale changes the color of the car (which is being presented to us as literally physically linked to Crowley) but not the model. He changes how it looks just like Crowley changes into angel wear without a second thought. Neither change the core of what they are, just the aesthetics. And Crowley is always trying on new aesthetics without letting them change who he is. From Az's perspective why would this be any different?

He doesn't realize that sometimes even if you make it so a Bookshop never burnt that doesn't mean the memory of it doing so ever leaves. You still line the shop with fire extinguishers. You still swap to battery operated candles. The memory lingers as they always seem to do.

Crowley can't ever go back. Won't ever go back. Because the trauma of the Fall draws a clearer line for him both in his own identity and in his worldview than it ever could for Aziraphale who came to his own much more slowly. And because of that it's easy to see a reading of Aziraphale that can't see the specific way what he's saying eats at all Crowley's insecurities because all he can see is what they're capable of together and how that aligns with the greater good. It's all part of God's plan, just like they've always been.