#bookshop destroyed but for real this time

[meatballlady]

Fun little reminder: the Bookshop was already destroyed once in Apocalypse 1.0, and S3 is supposed to end with Aziraphale and Crowley living somewhere else 🙃

[brainwormcity]

I've seen people remark on how awkward the 1967 scene is and that is so frustrating because, for me, it is one of the most emotionally resonant flashbacks in the entire series. It is so multifaceted and ripe with implication and that assertion is baffling. As though just because this conversation appears to be hard for them, it must mean that there has to be some sense of weirdness or awkwardness between them?

This scene feeds heavily into my theory that 1941 ended in some sort of aborted romantic moment between the two, most likely initiated by Crowley. Aziraphale can barely stand to look at Crowley because the very first moment he looks him in the face, he can't stop himself from giving him this hooded eyes, barely contained look of longing.

The next thing we see is Aziraphale immediately launching into a statement about his fear for Crowley's existence that is as brutally sincere as it is heartrending. His eyes are wide, his voice is heavy with emotion, and it's clear that he is terrified beyond belief to lose Crowley. Even as he acquiesces and gives him the holy water, you can see that he wants to take it back and deny him it all over again.

Then, of course, Crowley asks if he can give him a lift, which is definitely something that they both know is a totally different question than what lies on the surface, given that they're mere feet from the bookshop and at first Crowley frowns so deeply that it's almost cartoonish but a moment after Aziraphale turns him down you get this glimpse of very real sadness:

Aziraphale sees it for what it is and in an attempt to comfort him, without being able to do what currently seems impossible to him, shares a fanciful but resigned fantasy about spending time together unbothered and unrestrained, all to the tune of these tight little, loving smiles:

When he asks again, you can just see Crowley's desperation for Aziraphale not to go. It's hard to say how long they'd been apart, but it's safe to say that for them, that previous interaction likely is very fresh in their minds.

Aziraphale has always been more fearful than Crowley when it comes to their feelings for each other. You could even potentially look at the holy water as a metaphor for their relationship. In his expressions of concern about The Arrangement, Aziraphale has always been remarking on how Crowley could be destroyed, similarly to his words here. So when he's telling him, "You go too fast for me, Crowley," what he's really saying is, "I'm terribly afraid and I'm not ready to take that step if it means that I could lose you." And it's plain to see by the wistful look on his face that it pains him greatly to say it:

The scene so quickly cuts to Crowley looking intensely at the holy water after Aziraphale has left the car (as if trying to convince you that that was the real point of the scene) that it's easy to miss this devastated expression on Crowley's face:

There's no look of perceived rejection on his face. Just a somber look of resignation. There are so many barriers in front of them, and I think that Crowley was willing to risk it but understood that Aziraphale wasn't ready to.

This is the most honest and laid bare we ever see these two be when it comes to their emotions. There's so much being said without being said and even their actual words (i.e. Crowley remembering exactly the amount of time when the 'fraternizing' conversation happened) are so full of emotion that it might even be a bit hard for some people to watch.

It's not awkward. It's just that the scene is just so incredibly earnest and heavy with coded language that it's easy to be swept up by the fact that the two aren't engaged in their typical banter and bickering. What we truly have here is an incredibly difficult and loving conversation between two people who are stuck in a seemingly impossible situation.

[halemerry]

On the Bookshop, the Concept of Home, and Going Too Fast

So, weirdly enough, I want to start with a scene that has very little to do with the actual Bookshop: 1967. We get Crowley planning a heist and being interrupted by an angel clutching a thermos full of holy water and promising that someday, maybe, they could let themselves have the life they want together. And we get that line. You know the one. You go too fast for me.

This one line of dialogue went a very long way to cementing the fanon perception of their roles in the relationship as we've largely been shown them - Crowley gently pushes and gives Aziraphale space to slowly feel comfortable setting his own boundaries or adjusting his worldview. And I’m not saying this is wrong - it’s definitely what we're primed to expect in their pattern - but I do think it ignores a fairly common variation of their pattern. See, sometimes, Aziraphale is actually the faster of the two of them - he's just not quite as flashy about it.

Crowley very rarely actually does any pushing without getting some kind of signal from Aziraphale first. Aziraphale, whether consciously or otherwise, quite frequently is the player making the first move on their metaphorical chess board. We see that he's the first to push for them to work together in the story of Job. We see that he's the first to invite Crowley to socialize together in Rome. We see as early as the Globe that Aziraphale has discovered and weaponized how to ask Crowley for things with a simple look and that Crowley has gotten very good at reading those asks. We actually see this dynamic in real time as Aziraphale drops signals to Crowley on how he should form his deception of the angels in the Book of Job. Even the Arrangement itself is something Crowley doesn't push for until he knows explicitly that Aziraphale isn't happy with the terms of his work. In other words, Aziraphale sets a cue, Crowley picks up on it and adapts.

So what does this have to do with the Bookshop?

Well. The Bookshop is a prime example of Aziraphale getting there faster. Because the bookshop, whether he knows it at the time or not, is absolutely a nest.

Nesting is behavior typically associated with birds, but is actually something lots of animals do. Even humans exhibit this behavior to some degree. It’s functionally gathering a bunch of stuff to create a safe, comfortable place, typically constructed for the purpose of raising children or attracting a mate. In other words: the creation of a home.

Because the Bookshop is their home. It is their safe space and sanctuary. It is a space for them to meet and just Exist without worrying about being seen. A home base where they can just Be themselves. It’s a constant in a world ever shifting around them. It’s a place for them to come back to. A place that will always be waiting for them both. And a place that they both have to be able to check in on each other. This is why the Bookshop burning hit as hard as it did. Their home was destroyed in fire and flame. And they both know it. Every expression and shift in tone when they talk about it speaks to the gravity of that loss - even if it was only temporary. And I think it was always intended to be just that on some level from the very start.

So timeline wise the closest scene we know about to Aziraphale starting his plans for the shop is the scene at the Globe. This takes place in 1601 and features the two of them being very conscious of being seen and the potential consequences thereof. They pick going to the Globe expecting it to be busy enough to blend into the crowd and Aziraphale's objection re the Arrangement has shifted onto the idea of Hell destroying Crowley.

It is less than a century later that Aziraphale buys the land that will eventually become the bookshop. In 1630 he purchases the land with his own money. That’s his money. Money that he made mostly the human way. Although this space would eventually become an embassy to Heaven it was made via earthly means. It’s his, not Heaven’s. Less than 30 years after we first see them express concern for how dangerous it would be to be seen Aziraphale starts making a space for them to retreat to.

And he does it slowly. He spends decades slowly buying up the land in the area. In fact, it’s nearly 200 years before the Bookshop will be ready to open. By the time we hit the Bastille, he’s clearly decided on a bookshop and has clearly told Crowley all about it. They’re comfortable with each other and already trust each other to a frankly absurd degree. Aziraphale risks discorporation on the sure thing that Crowley will know he’s in danger and come save him just because he wants to see him. In other words, by the time they’re at the point where they’re making elaborate excuses to see each other, Aziraphale is less than a decade away from naming the home he has been carefully making for himself A.Z. Fell and Co.

The and Co is important here for obvious reasons. We all know there’s only one person that it could be referring to. Even as Aziraphale is still denying that they are friends, he is plastering the idea that they are a unit all over the front door of his home long before even he realizes that what he is feeling for Crowley is love.

This is part of why the conversation about ‘our car, our bookshop’ comes much easier to Aziraphale. And it is an easier jump for him to make. He's the one that brings it up and he does it quite casually. He's testing the waters a bit, but is confident the conversation will go his way. Of course we have a car. Just as we have a bookshop.

The thing is I don't think Crowley ever really got that memo on a conscious level. We can see his relationship to the shop shift in the way he moves around the shop shifts over time. The earliest we see him in the shop itself is 1941. It's night time which gives the whole thing a bit of clandestine air, which is fitting for where they're at on the timeline. He stays mostly in one spot in his shots here, sort of hovering about the shop not getting too close to Aziraphale but not drifting out on his own either. He also stays as close to sitting normally as we tend to see Crowley ever sit and his glasses stay on. Which that's not to say he doesn't relax at all. He takes off his hat and make himself comfortable and, most telling, doesn't bother with fixing his glasses when they slip off his nose. He's comfortable and familiar here but it's in a strained sort of distant way. There's trust there, for sure, but he is clearly a visitor in this space.

The next we see of Crowley in the shop is the mid 2000s. It's still night time. His glasses stay on until he's drunk and the he takes them off of his own accord. He moves about the shop, touching various objects and leaning against various pillars and shelves and furniture. He's more comfortable here, but he still he needs a bit of alcohol in his system to get there.

We then see him briefly in the daytime after they realize they have lost the Anti-Christ. The glasses stay on here and alcohol is notably present. And then we do not see him in the shop again until it is burning. All and all most our shots of the bookshop from season one are Aziraphale alone moving about his space. We know Crowley's there enough that his smell lingers in the place, but we don't actually see that much of it beyond those first tom scenes.

Season 2 couldn't be more different in this regard.

Crowley moves in and out of the bookshop as it suits him. At one point he wanders off in the middle of Aziraphale zoning out in a memory without bothering to shake Aziraphale out of it. We even get him doing what is functionally a bird courtship dance right here in the middle of the shop. Aziraphale in turn takes active steps to get Crowley into the shop whether it's leaving him to watch it while he's gone or suggesting that Crowley likes waiting in the shop for him - a thing Crowley does not outright deny beyond objecting to Gabriel's presence there.

And we get a lot of Crowley in the shop this season- both with and without Aziraphale. And regardless of Aziraphale's presence, Crowley's behavior doesn't really shift too much. He's moving around the shop far more that we've ever seen him historically and he spends half that time sprawling on the furniture like it's his.

And, of course, nearly every time we see him enter the Bookshop to engage with Aziraphale, the glasses come off.

He lets his face stay exposed in the shop, even eventually in front of Gabriel. The only other place we've ever seen him take his sunglasses off by his own choice are in his own flat or when he's trying to make a point about his own nature. Even when he's engaging with Hell, so long as he's not grabbed unexpectedly, he has them on. Crowley wears them around people well before sunglasses had technically even been invented. But not here. Not anymore. Not in this story that is framing the bookshop as a literal safe haven.

Even the palette for the Bookshop this season speaks volumes. Now Season 1 in general is a little grayer than Season 2 (this is in part because of the general aesthetics of when they were made and in part because of the difference in tone between the two seasons) and it's very very noticeable in the shop itself. Here's some side by sides of similar areas of the shops between two seasons, I bet you could guess which was which based on the colors themselves.

The palette season 1 suits Aziraphale just fine. It's more neutral tones like he tends to favor on himself. It's still cozy but in a dusty sort of way. The palette of season 2 is warmer. Less white and more orange to the point where even the pillars holding up the bookshop are more vibrant. There's more natural light and we see it more often during the day. It's a warm, shared, space now. They both get plenty of use out of it.

And Crowley now looks like he fits there too. The shift in his palette makes him feel in conversation with the bookshop in a way his season 1 red can't quite mesh with the more washed out palette. I won't repost all these images I was going feral over last night but you can find a lot of shots of him in the shop windows here that really show the ways he works with the colors of the shop.

So why hasn't Crowley moved in officially if he's practically done so already?

Because this is their whole problem in a nutshell. It's a prime example of the way their pattern doesn't work anymore. It's not built for a world like this. Its built for a world where they have to hide and make excuses. And while being free of that is objectively good it also means they have none of that to hide behind anymore. Subtext doesn't have to be subtext anymore and that can be as scary as it can be exciting. Freedom from things like Heaven and Hell can be hard when that's all you've ever known. This is all new territory for them. The meaning of what home can be to them shifts a lot in a space where they can more or less do as they like.

Aziraphale doesn't need to be indirect about what he wants anymore but can't quite figure out how to be more direct in the asking. He's ready but can't quite parse how to say that out loud. Or why he would even need to when he's been saying it quietly for more than a century. He built a shop full of human knowledge into a safe haven for the demon that fell for asking questions. He invited Crowley into the shop on day one, just like everything else he loves. He's already left the door open for Crowley to come and go as he pleases and as far as he's concerned Crowley has already half moved in anyway. From his perspective he's already set a large blinking neon sign up that says 'this is your home too'.

Crowley, for his part, can't read this cue. Not without thinking about going to fast or starting a battle with his own sense of self worth. He's been in keep them alive mode for so long I'm not even sure he really knows how to let himself have needs outside of that on any conscious sort of level. There's nowhere to push if you don't have an endgame. And even if he did have one the last explicit boundary he had established by Aziraphale was telling him to slow down.

But I do think they both realize this. Crowley grumbles about what's the point from the start of his first scene and of course eventually does take a shot at expressing his wants. Aziraphale's fixation on the Ball comes into play here too. He says they allow humans to realize they have misunderstood each other and that they're actually in love. Which is just flat out their whole problem summarized for us nice and neatly.

They're not understanding each other. They haven't had the conversations they need to have. But they are trying. They still trying, even if they don't understand the ways each other is doing so. And at the end of this season even as they are separated again, the nest still stands. And, maybe the next time we get to see them, they'll decide it's in good hands right now and start building another nest together in in South Downs, but, no matter what, the shop is still home. And even if it is a place they have lost each other twice, there is no doubt in my mind that it is a place they will find each other again.

[hikarry]

Badass Aziraphale is fun. We love to see him with all the divine wrath and playing the protector he was meant to be, blinded by love and duty. Eyes everywhere and flaming sword at hand ready to smite or confront anyone that dares step his way

And that's the version we see the most in the fandom. Vengeful angel Aziraphale Guard of the Eastern Gate raining righteous fury over anyone who dares harm Crowley

It's beautiful. Poetic even. I love it

BUT

There is nothing in this whole fandom that's more powerful and gorgeous than protective Crowley

That man knows what is like to lose the love of his life. He has lived it, for as brief as it might have been. All the despair, the lost of hope, the absolute loneliness. He has been there and that's a place he refuses to go back to

All the fear turned into rage. Ready to burn down Heaven and flood Hell to protect his angel. He might not be the strongest and he might not be a match for more than one archangel at a time, but he would rather die than let anyone take Aziraphale away from him again

He would become so blindsided by terror he wouldn't stop to think about the consequences. His only target is Aziraphale and Aziraphale only and he would pull any stunt to make sure he was safe and, do you wanna know the best part? This is canon

We have snippets of protective Crowley all throughout season 2 but this scene? Oh boy, this scene

Crowley doesn't trust Gabriel. He tolerates him because he promised Aziraphale he would help, but he is on high alert

As soon as Shax shows up and threatens Aziraphale, he redirects his fear turned rage towards his main target: Gabriel. Because this is his fault. Beelzebub is looking for HIM. They/Heaven indirectly threatened Aziraphale with being erased from the Book of Life because of HIM. If something happens to Aziraphale because of this stupid charade he got himself involved with because he promised to protect Gabriel, Crowley will hold no punches

He's already full to the brim with the stunt Gabriel pulled during Aziraphale's "trial". Oh no, Crowley hasn't forgotten his words and his righteous smile while he condemned the man he loves to death even though some years have gone by and he is still furious about it

He is a wrong step away from exploding and destroying everything that presents itself as a threat to Aziraphale in the moment.

He is so scared of everything (Gabriel, Beelzebub, Shax, Heaven in general, the Book of Life) that he spends most of the season compressed like a spring ready to pounce at the minimal real show of danger

The only reason he leaves Aziraphale with the demons in the bookshop to go and try to figure out what the absolute fuck is going on is exactly because the demons can't enter said bookshop and he trusts everyone present not to be stupid enough to let them in (I'm sorry, Maggie. I still love you babes)

The worst part is: all his fury, all his rage and fear are useless in the end because Aziraphale walks into the danger willingly and Crowley would face anyone that tried to hurt his angel, but the angel himself

Don't get me wrong, he sees the danger. Maybe a tad to late. After the demons are gone and so is Gabriel and Beelzebub, he let's his guard down and allows himself to truly relax, planning their little breakfast at the Ritz

Because he thinks it's over. He was completely blindsided by Metatron. He himself says "Go angel. No problem. Can't get weirder than whatever the fuck just happened". Oh my poor sweet summer child

But he does see the danger eventually and goes on high alert again, but it's too late. He would never hurt Aziraphale, but he pulls all the weapons on his arsenal to try and stop him from going where he can't follow. Where he can't protect him

And he fails. Like he always feared he would. Not only showing his hand to Aziraphale in a desperate attempt to protect him but also losing him in the process with nothing he can do about it but watch his angel go until the very last second

[wistfulnightingale]

A Mini-Meta Musing (#1)... Anything To Protect Crowley

I'm always a bit surprised at how Aziraphale is underestimated in the fandom. (I know he's in everyone's bad books rn, but breathe deeply and hear me out!). I've seen a lot of debate about how much, in his relationship with Crowley over the years, Aziraphale is rigidly fixated on right/wrong, good/evil, and uses it to push Crowley away. Sometimes, however, these discussions forget to take into account how often Crowley was punished by Hell. And Aziraphale knows.

Once he understood the constant risk of retribution the demon faced, Aziraphale's primary instinct and his self-appointed mission in the relationship became Protect Crowley. No matter what. Protect Crowley even when his friend is careless with his own safety. It's a huge factor in why he so often pushes Crowley away in later years, when they seem to be beyond all that. And I believe that it's also the real reason he built the bookshop.

Aziraphale desperately hopes the bookshop can help keep Crowley safe.

It takes a very long time for Aziraphale to recognize how dangerous their relationship is for Crowley. In the early centuries, the angel is buying the Party Line -- if you made it through the Fall, you're holy and perfect. In Eden, and again in Job's cellar, he misses the demon's ironic humor and is very caught up in holier-than-thou thinking. That doesn't exactly enourage Crowley to confide his secret shame. Our devil-may-care demon desperately wants to look confident and dashing and independent, not fearful and bullied. Eventually, however, whether Crowley confided or Aziraphale guessed, our foolish Principality realizes the danger, and he grows up a lot.

By 1601, at the Globe Theatre, he's more worried about the cruelty of Hell then Crowley is. Aziraphale at first *looks like* he's scorning Crowley's proposal in the arrangement, but he's actually trying, in his own way, to subtly "shush" Crowley's loud and daring carelessness. We know this because he then worriedly reminds the demon that, "if Hell finds out, they won't just be angry, they'll destroy you."

I propose that Crowley did actually get punished for his indiscretion in some way, sometime after that. When he shows up at the Bastille in 1793, sure, he's putting on fashion-model poses to impress the flirtatious angel, but he's also much less relaxed. There's a tension and moodiness in him that, chronologically, wasn't there in Essex or at the Globe. He's cynical again. But he doesn't tell the angel-- not that we know of, at least. Possibly because Aziraphale is feeling flirty and practically radiant that his handsome friend came to his rescue!

The meeting at St. James Park in 1862 was a defining moment for Aziraphale. Crowley had been literally sucked into a Hellhole, screaming, for saving Elspeth in 1827 Edinburgh. At the park in 1862, he's visibly stiff, barely even turning his head, carrying a cane, and incredibly subdued in all ways. There's no energized pacing, no hand gestures or leaning in. He hardly moves. His corporation was included in Hell's punishment, and he looks broken.

Aziraphale couldn't possibly NOT see this. We know he was worried when Crowley was taken. We see this in present-day when he slightly bullies and borrows a phone immediately after remembering the events of 1827, just so he can check on Crowley! Back in 1862, he sees Crowley's despair and brokenness. Again, he handles it indirectly, and hurtfully. If he can't keep Crowley safe, he'll push him away, for his own good. Like an old tear-jerker classic movie where the little boy tearfully chases away his beloved dog so that the mean villain won't shoot it...

Aziraphale is an intensely emotional being who often seems overwhelmed by his own feelings, leading him to handle difficult situations badly sometimes. However, he's also incredibly loving. The former Guardian of the Eastern Gate is a protector by nature and by choice. He loves humanity, and risks his ethereal status repeatedly to protect them. He loves Crowley, his best friend, whether he feels safe to admit it aloud or not. He'll risk anything, including the friendship itself, to protect him.

For 1800 years, Heaven didn't have an embassy in London. If Aziraphale just wanted a physical building to store his treasured collection of books, he could have done that. Heaven is a corporate hierarchy with paperwork and red tape. There surely were requests and filings and complications in trying to get an official Embassy authorized! Possibly he could simply have obtained permission to own a simple shop as a "cover" to fit in with the humans (like eating sushi!).

Instead, the bookshop is a Heavenly Embassy with miraculous protections. No one can enter unless first invited, not even angels. Only Crowley can freely come and go, at least until the chain of events at the end of Season 2. Prior to that, the bookshop is a safe place for them. Crowley is visibly more relaxed there. He and Aziraphale get along there, laugh and tease, and have their closest moments together. They are safe there, and Crowley can't be harmed within its walls.

This was Aziraphale's goal. He had too often felt the helplessness of witnessing how his relationship with Crowley put the demon at constant risk, even before 1827. From the time their friendship truly began at Job's home in Uz until Crowley was kidnapped by Hell in 1827, we never see Aziraphale try to discourage or end the relationship. Every interaction except Essex (537 A.D.) brought them closer together, and even Essex was quite collegial until Crowley first proposed "The Arrangement." Aziraphale hoped that creating the bookshop, with its protections, would help keep Crowley safe, or at least give him a temporary haven where he could relax and breathe more freely.

Imagine how powerless Aziraphale must have felt when 1827 slammed home the realization that he could never do enough to fully protect Crowley from Hell, or from Heaven for that matter. Yet, despite the danger, Crowley always seeks him out again, at continued risk. "Ducks have ears." Someone may always be listening. No wonder the angel unilaterally tried to end the friendship. Not a fair or emotionally healthy strategy, admittedly. But Not too difficult to understand.

-----

Final note, my own fun little imagining about the shop name: A. Z. FELL & Co. I know that adding "and Company" was a common business technique to make one's appear large and prosperous. It wouldn't be unusual at the time for a single shop owner to use, particularly for a property as impressive as Aziraphale's. But it's my personal belief, be it fact or headcanon, that the angel was entirely thinking of his best friend when he added "and Company" to the shop name. Crowley has an open invitation, Crowley is his guest, his companion. Crowley is welcome company. A & C. A.Z. Fell & Co.

[inhonoredglory]

A Wartime Footing: An Explanation for Aziraphale's Elevator Smile

(Based on an ask from @sabotage-on-mercury in response to my meta on why Aziraphale had to go to Heaven)

The creepy smile was one part of the ending I couldn't quite put my finger on either, until someone pointed out on a Twitter response to my meta:

The reason why its scary is bc azi is becoming properly angry at the system and is 101% determined to set things right (Source)

In season 1, Aziraphale was determined not to kill anyone to stop the Apocalypse. He wouldn't even tell Crowley where the Antichrist was, because Crowley's only solution was to kill him.

And because Crowley consistently didn't have any ideas ("not one single better idea??"), Aziraphale took it on himself to pursue the only option left––to ask God to intervene and stop both Heaven and Hell from destroying Earth. Therefore, Aziraphale had to keep the integrity of his angel status by distancing himself from Crowley, while the world was still in danger.

Despite this dedication avoid bloodshed, when God didn't have an answer, Aziraphale went against one of his core beliefs to help save the world. He was willing to murder a child.

For Aziraphale, that takes guts. And (seeing how he reacted at the end of the Job minisode), I wonder that if he had killed Adam Young, Aziraphale would have checked himself into Hell.

Going to Heaven for Aziraphale is ultimately a conscious choice, one that he is clearly afraid of. We see him constantly steeling himself again the Metatron in the end, covering his fear and hurt from losing Crowley with a placid smile and a flippant attitude. He's wearing so many masks, to Crowley, to himself, to the Metatron...

All season we've seen him playing roles (detective, magician, doctor, landlord). But the final role is warrior. Going up that elevator, we first see Aziraphale's eyes searching, worried, panicking, but unable to show it because he's not in a safe space. He swallows, blinks, he's breathing hard (you can see his entire shoulders rise and fall).

But as he goes up, his expression steels. He's quite literally putting on a mask (to himself): a vengeful, hardened expression of pure anger and rage (to drown out the fear and uncertainty he so clearly still has).

Michael Sheen conveying contained anger in both Good Omens and Masters of Sex.

Cuz this isn't just him scrambling to kill a kid, this is him walking calmly and knowingly into sacrificing everything he loves most (Crowley, the bookshop, his entire life on earth) to create a world that will always be safe for him and Crowley and humanity for the rest of time. Where he would have to go up against the most powerful angels, the Metatron, and God Themself to change things. He can't be the kind, sweet angel he was on Earth. That won't cut it in Heaven if he wants to make a difference in any real way.

He wanted to do it with Crowley, with the love and support and strength of his demon. But without him, Aziraphale has to channel something else to keep his resolve afloat.

Something he had when he was a warrior, fighting on the front lines of a battle between Heaven and Hell, when he very likely led a platoon into divine fields of bloodshed before the earth was born. When he was an avenging angel.

I haven’t done this since the Great War.

It was a time and an identity he had chosen to leave behind, because it wasn't the kind of angel he was anymore ("I'm not fighting in any war!"). In this context, you can read Aziraphale's passionate unwillingness to take a life (his pacifism) directly into his past experience as a warrior. It is often the veterans of terrible wars who are the most earnest advocates for peace. (And especially in Britain and Europe, where the violence of the world wars is still such a powerful and painful national memory.)

As he goes up the elevator, he's breathing so hard we can hear it mirrored in the soundtrack, and he is so hyperfocused on steeling himself that he doesn't even care that the Metatron is watching him. He doesn't rest until he's psyched himself into that warrior mindset necessary to carry out this mission entirely by himself, to be both the moral advocate and the uncompromising leader of angels who had intimidated him his entire life. To demand respect and to talk to the very face of God and tell Them they are Wrong.

(Please read this Neil-approved meta for further thoughts on God and Aziraphale.)

That creepy smile is clearly not there because Aziraphale is happy to fall into a toxic parent's false love. There's no comfort or wistful nostalgia in that face. There's no "it'll be so much nicer" in that smile. It's not a happy smile. It's an I'm-gonna-fuck-shit-up smile.

Because it's a warrior's smile before they go into battle, before they put on that armor and, for a while, become something they're not in the name of some greater good. He's fucking furious and it's downright frightening.

Because I have no doubt that the angel Aziraphale we get in Season 3 is the angel Aziraphale who can say this:

He's not quite there yet in the TV show. But this bravery, this anger, this flaming rage is how it starts.

Or as he's described in the book when Aziraphale mysteriously does away with the local mafia:

Just because you’re an angel doesn’t mean you have to be a fool.

[actual-changeling]

the true weight of aziraphale's words only hits him days later, when the shock has worn off and the world no longer looks vivid-sharp and fragmented. 

just like the old times, only even nicer, and back in the bookshop, hearing him say it for the first time, the heaven underneath it all had ripped him open. now, though, with heavy limbs and their respective speeches burned into his brain, syllable after syllable, it's the second part that re-opens those very same wounds.

was this not nice? he wants to ask him, the walls, fucking god herself—or scream, rather, he has grown rather fond of screaming—because he thought it had been, their life on earth. nice and soft and messy, full of arguments, yes, but also nights of laughter and shared heat. graveyard walks and afternoons in the park, eating at the ritz, feeding the ducks, basking in everything alive so they could feel alive, too.

crowley would have given him almost everything, followed him almost everywhere except the one place aziraphale wanted him to return to. after six thousand years, he had finally found the only thing crowley refused to give up—his freedom.

inch by inch, he had clawed his way out of hell and through more pain than he will ever be able to name, and the scars, the burn marks, the fresh air in his lungs are worth it, always have been and always will be. no longer an angel, never again, but not a demon either; he's been on his own side since the beginning.

crowley has thought of his existence as a shared one—theirs—but maybe, with his eyes opened and the truth bitter in his tongue, maybe they'd led two lives after all. one full of magic and fairy tales for aziraphale in which polishing away every spot and destroying every flaw would eventually create a perfect 'us'. he wanted to take him right back to the start, when mistakes didn't exist, when crowley didn't exist.

yet crowley, despite what he regularly told his plants, the mirror, himself, had never been chasing after something they did not have. love is just as flawed and messy as life, and he basks in traffic jams and cloudy days, in existing as his own person without any affiliation, occult, ethereal, or otherwise.

he had never wanted them to be perfect, just undeniably real. in the end, even that was too much to foolishly hope for, a lesson once learned branded into his skin anew:

ask and you shall lose.

[youryurigoddess]

A nightingale sang in the London Blitz

When exactly was that certain night, the night Aziraphale and Crowley met — and spoke for the first time in 79 years in the midst of the London Blitz?

And what’s the deal with the nightingale’s song, really?

Grab something to drink and we’ll look for some Clues below.

The night they met

The Blitz, short for Blitzkrieg (literally: flash war) was a German aerial bombing campaign on British cities in the WW2, spanning between 7 September 1940 and 10 May 1941. The Luftwaffe attacks were carried out almost non stop, with great intensity meant to force a capitulation and similarly strong impact on British life and culture at the time.

Starting on 7 September 1940, London as the capital city was bombed for nearly 60 consecutive nights. More than one million London houses were destroyed or damaged, and more than 20,000 civilians were killed, half of the total victims of this campaign.

The night of 29 December 1940 saw the most ferocity, becoming what is now known as the Second Great Fire of London. The opening shot of the S2 1941 minisode is a direct reference to recordings of that event, with the miraculously saved St Paul’s Cathedral in the upper left corner.

The actual raid lasted between 06:15 and 09:45 PM, but its aftermath continued for days. The old and dense architecture of this particular part of the city turned into a flaming inferno larger than the Great Fire of 1666. Multiple buildings, including churches, were destroyed in just one night by over 100,000 bombs.

Incendiary bombs fell also on St Dunstan-in-the-East church that night, the real-life location of this scene as intended by Neil. It was gutted and again claimed by fire in one of the last air rides on 10 May, when the bomb destroyed the nave and roof and blew out the stained glass windows. The ruins survived to this day as a memorial park to the Blitz.

Such a delightfully Crowley thing to do: saving a bag of books with a demonic miracle adding to the biggest catastrophe for the publishing and book trade in years. 5 million volumes were lost, multiple bookshops and publishing houses destroyed in the December 29th raid alone.

Even without this context, judging by the seemingly unending night, overwhelming cold and darkness, broken heating at the theatre, and seasonal clothing (like Aziraphale and Crowley’s extremely nice winter coats), it’s rather clear that it was the very beginning of the year 1941.

Everything suggests that Aziraphale and Crowley’s Blitz reunion happened exactly 1900 years after their meeting in Rome — which, according to the script book, took place between 1 and 24 January 41 (Crowley was right: emperor Caligula was a mad tyrant and didn't need any additional tempting; there's a reason why he was murdered by his closest advisors, including members of his Praetorian Guard, on 24 January 41).

Interestingly, both events involved a role reversal in their otherwise stable dynamic, with Aziraphale spontaneously taking the lead instead of letting the demon be the one to do all the tempting and saving, and ended with a toast.

The S2 Easter Egg with the nuns of the Chattering Order of St Beryl playing table tennis at the theatre suggests that the Blitz meeting happened on a Tuesday afternoon, which doesn’t match any of the above mentioned days, but sets the in-universe date for 7 January 1941 or later.

The Chattering Order of Saint Beryl is under a vow to emulate Saint Beryl at all times, except on Tuesday afternoons, for half an hour, when the nuns are permitted to shut up, and, if they wish, to play table tennis.

The nightingale

January means one thing: absolutely no migratory birds in Europe yet. They’re blissfully wintering in the warm sun of Northern Africa at the time. But, ironically, when the real nightingales flew off, a certain song about them suddenly gained popularity in the West End of London.

It might be a shock, but A Nightingale Sang in Berkeley Square wasn’t a hit from the start — even though its creators, Eric Maschwitz and Manning Sherwin, were certainly established in their work at this point. The song was written in the then-small French fishing village of Le Lavandou shortly before the outbreak of the Second World War with first performance in the summer of 1939 in a local bar, where the melody was played on piano by the composer Manning Sherwin with the help of the resident saxophonist. Maschwitz sang his lyrics while holding a glass of wine, but nobody seemed impressed. It took time and a small miracle to change that.

Next year, the 23-year-old actress Judy Campbell had planned to perform a monologue of Dorothy Parker’s in the upcoming Eric Maschwitz revue „New Faces”. But somehow the script had been mislaid and, much to her horror, replaced with the song A Nightingale Sang in Berkeley Square. She had never professed to be a singer but even so, she gathered her courage and went out onto the moonlit set dressed in a white ball gown. Her heartfelt rendition of the now evocative ballad captured the audience’s imagination and catapulted her West End career to stardom.

It was precisely 11 April 1940 at the Comedy Theatre in Panton Street and the revue itself proved to be a great success — not only it kept playing two performances nightly through the Blitz, but also returned the next year. And the still operating Comedy Theatre is mere five minutes on foot from the Windmill Theatre, where Aziraphale performed in 1941, and not much longer from his bookshop.

Now, most Good Omens meta analyses focus on Vera Lynn’s version of the song from 5 June 1940, but it didn’t get much attention until autumn, specifically 15 November, when Glenn Miller and his orchestra published another recording. And Glenn Miller himself is a huge point of reference in Good Omens 2.

According to the official commentary the infamous credits scene is establishing Aziraphale and Crowley’s final resolve for the next season using the same narrative device The Glenn Miller Story (1954) does in its most crucial scene. It starts with the tune (and audio in general) totally flat, then adds a piano on one side, and gradually becomes fully multidimensional. The Good Omens credits not only emulate the same sound effect, but bring it to the visual side of the narrative by literally combining the individual perspectives of the two characters together. Even though they’re physically apart, their resolve — and love to each other — brings them even closer than before. Aziraphale smiles not because he’s being brainwashed, but because he knows exactly what to do next.

Some of you might have noticed that Tori Amos’s performance for Good Omens is actually a slightly shortened version of Miller’s recording — much less sorrowful than Vera Lynn’s full lyrics that include i.a. this bridge:

The dawn came stealing up

All gold and blue

To interrupt our rendez-vous

I still remember how you smiled and said

Was that a dream or was it true?

Which is a huge hint when it comes to what we can expect from the main romantic plot line in the Good Omens series. The original song introduces an element of the doubt — it seems like there was no nightingale at all, only the mirage woven by the singer clearly intoxicated with love, much like Aziraphale and Crowley for the length of the last six episodes. Crowley’s comment in the season finale might allude to that interpretation, stating that there are no nightingales — never have been. It was all a dream. But the version we’re working with here is short and sweet, and devoid of that doubt. In the Good Omens universe angels were actually dining at the Ritz, the streets were truly paved with stars (or will be shown as such in the next season), and a nightingale really sang in Berkeley Square, as the omniscient, omnipresent, and omnipotent narrator, God Herself, had shown us.

All in all, it’s not an accident that the “modern” swing ballad activating Aziraphale’s memory and opening the 1941 minisode is the Moonlight Serenade by Glenn Miller. It’s a track naturally associated with A Nightingale Sang in Berkeley Square when it comes to music style and the sentiment in the lyrics.

But why the sudden popularity? In the great uncertainty and hardship of the Blitz, A Nightingale Sang in Berkeley Square provided solace and escapism for listeners, offering a glimpse of hope and love amidst the darkness of war. It became a universal anthem of resilience and a reminder of the power of love transcending difficulties. By January 1941 the whole city knew this tune by heart, including a certain West End aficionado with a cabinet full of theatre programs in his bookshop. Thanks to Maggie’s grandmother, he most probably had a record at hand to play during his spontaneous wine night with Crowley. We can only suspect the details, but it was was mutually established as their song exactly at that time or soon afterwards. Pretty sure we will see a third installment of that minisode for many, many reasons, but especially because of this “several days in 1941” answer by Neil:

The Man Hunt

In 1941 A Nightingale Sang in Berkeley Square gained even more popularity as the romantic theme of the Fritz Lang’s newest film Man Hunt. The 1939 story by Geoffrey Household first appeared under the title “Rogue Male” as a serial in the Atlantic Monthly Magazine where it received widespread comment, soon becoming a world-wide phenomenon in novel form. Its premise criticizes Britain's pre-war policy of appeasement with Germany, ready to sacrifice its own innocent citizens to the tentative status quo. Sounds a bit like Heaven's politics, right?

Yes, I'm trying to make you watch old movies again — like all the other classics, Man Hunt (1941) is easily available on YouTube and other streaming websites.

The next part will include spoilers, so scroll down to the next picture if you prefer to avoid them.

The plot of the movie seems simple enough: the tall, dark, and handsome Alan Thorndike, who nearly assassinates Hitler, narrowly escapes Germany and back in London continues to evade the Nazi agents sent after him with the help of a young trench-clad “seamstress” named Jerry, bridging the class divide and becoming unlikely friends-partners-romantic interests. It doesn’t end well though.

Jerry's small London apartment serves as a hideout for Alan when he was being followed by Nazis, similarly to how Aziraphale's bookshop is a safe haven for both Crowley and Gabriel in S2. She helps the man navigate the streets and eventually out of London — by sacrificing herself and getting forcefully separated from him by a patrolling policeman. The last time they see each other, Alan watches Jerry look back at him yearningly and disappear in the fog, followed by the elderly officer.

Unfortunately in the next scene we learn that the latter is a Nazi collaborator and helps the agents apprehend Jerry in her own flat. Staying loyal to her love and uncooperative, she’s ultimately thrown out of a window to her death, but posthumously saves Alan once again — through the arrow-shaped hatpin he gifted her earlier that is presented to him as the evidence of her off-screen fate.

Long story short, thanks to Jerry’s sacrifice Alan not only survives, but is able to join the war that broke out in the meantime and go back to Germany, armed with a rifle and a final resolve to end what he started, no matter how long will it take. The justice will be served and the dictator will pay with his life for his sins.

I wouldn’t be myself without mentioning that the main villain has a Roman chariot statue similar to the one in Aziraphale’s bookshop, an antique sculpture of St Sebastian (well-known as the gayest Catholic Saint) foreshadowing his demise, and a chess set symbolizing the titular manhunt/game of tag with the protagonist.

Aziraphale’s song

Will Aziraphale sacrifice himself as well? Or has he already? If his coin magic trick can be any indicator, we should expect at least a shadow of a danger touching the angel’s wings soon.

Let’s sum up the 1941 events from Aziraphale’s perspective: the very first time they’ve interacted after almost a century, Crowley actively sabotaged his entire existence twice by stepping onto a holy ground and by being outed by agents of Hell, both on the very same night and both because of his undying dedication to the angel. That’s enough of a reason not only for performing an apology dance, but also maintaining a careful distance for Crowley’s sake for the next 26 years. Only when he heard that his idiot was planning to rob a church, he gave up since he “can't have him risking his life”.

That’s when Crowley, sitting in a car parked right under his bookshop, offered him a ride. It wasn’t even subtle anymore. It was supposed to be a date, this time both of them understood it. But Aziraphale wouldn’t risk Crowley’s safety for his own happiness, especially not when he can name his feelings towards him and knows that they are reciprocated — the biggest lesson he learnt back in 1941.

So he did what he’s best at, he cut Crowley off again, but this time with a promise of catching up to his speed at some point. Buddy Holly’s Everyday, which was originally planned to play afterwards instead of the Good Omens theme, adds additional context here:

No, thank you. Oh, don’t look so disappointed. Perhaps one day we could... I don't know… Go for a picnic. Dine at the Ritz.

Aziraphale, carefully looking around and feeling observed through the whole conversation in the Bentley, consciously used the “Dine at the Ritz” line from A Nightingale Sang in Berkeley Square, from their song, as a code only the two of them understand. Not as a suggestion to go out for a meal, but a promise. A hope for the privilege of being openly in love and together — maybe someday, not now, when it’s too dangerous — even if it leads to a bad ending.

Fast forward to 2023 when for one dreadful moment Crowley’s “No nightingales” robbed Aziraphale even of that semblance of hope. He looked away, unable to stop his tears anymore. Only their kiss helped him pull himself together and make sure that a nightingale did sing the last time he turned — just like in their song — this time without a smile, as a goodbye.

[weirdly-specific-but-ok]

READ 70 PAGES OF THE GOOD OMENS BOOK WITH WHICH I HAVE HOMOEROTIC TENSION AS WE KNOW

WE ALL KNOW ABOUT THE HOMOEROTIC RIVALRY BETWEEN ME AND MY COPY OF THE GOOD OMENS BOOK. WE KNOW. IT STARES AT ME, I STARE BACK, IT DARES ME TO READ IT AND FALL IN LOVE WITH CROWLEY MORE, I REFUSE. WE PUT THE UST IN LUST ETC.

BUT TODAY/YESTERDAY (RIP SLEEP SCHEDULE) SINCE I WASNT ON TUMBLR, I READ TILL PAGE 70 OF THE BOOK (TILL THE PART CALLED WEDNESDAY) AND GOD FUCKING DAMN. I READ IT LISTENING TO AN AZIRAPHALE BOOKSHOP AMBIENCE AND WITH CHOPIN PLAYING AND CANDLES LIT. ANYWAY. THINGS THAT HAVE STUCK OUT TO ME:

Crowley. Just everything about Crowley. God I love him. I fucking love him. This is why I avoid reading the book. I'm such a slut for Crowley. It's manageable on the show when I know it's an actor. But WORDS CROWLEY? WORDS CROWLEY IS REAL. I AM SO IN LOVE.

Aziraphale has perfectly manicured hands. I'm pretty sure this has been mentioned three times in the first 70 pages. Three times at minimum. I forget how twink he is in the show (idk how) but man the book does NOT let you forget and I love that.

Crowley absent-mindedly sank a duck. Aziraphale called him my dear (fanfic authors everywhere: write that down write that motherfucking shit down it's better than porn). Crowley un-sunk the duck. The duck was cross.

CROWLEY DID I MENTIONED CROWLEY OH MY BABY FANCIED THE JAMES BOND DECALS HE WANTED TO LISTEN TO VIVALDI COZ THEY WERE SO STRESSED AFTER RECEIVING THE ANTICHRIST THEY LOVE GOLDEN GIRLS (I LOOKED IT UP AND OH CROWLEY) THEY DRANK FOR A WEEK AFTER SEEING THE SPANISH INQUISITION THEY OMG.

THE DRUNK SCENE. I FINALLY UNDERSTOOD THE DOLPHINS CONVERSATION. OMG THESE TWO FUCKING FOOLS I ADORE THEM.

Crowley IN THAT SCENE AND AZIRAPHALE IN THAT SCENE HOLY SHIT. CROWLEY JUST LISTING OFF ALL THE THINGS SHE KNOWS AZIRAPHALE LOVES.

AND OMG. The CONVOLUTED FUCKING METAPHOR CROWLEY COMES UP WITH INVOLVING A LITTLE BIRD FLYING TO THE ENDS OF THE UNIVERSE AND PECKING A MOUNTAIN AND COMING BACK AND DOING IT ON LOOP. FOR WHAT? JUST TO SAY THAT WHEN THE MOUNTAIN WAS GONE, HEAVEN WOULD STILL BE PLAYING THE SOUND OF MUSIC.

As usual just like me Crowley shot himself in the foot with that metaphor. Because AZIRAPHALE, THE LEGEND, STARTS SAYING THE BIRD MUST BE IMMORTAL FOR THAT, AND THEN SAYS NO ACTUALLY THE BIRD IS BEING CARRIED IN A SPACESHIP AND THE DESCENDANTS EMERGE FROM THE SPACESHIP and poor crowley is saying SO THE BIRD REACHES THE MOUNTAIN and azi excitedly says IN THE SPACESHIP and AAAAAAAAA-

Anyway right yes sorry what were we doing oh right the book.

Anathema is so adorable as a kid what a little brat holy shit I love her. I want to see all her homework written in Middle English. I want to know which teacher finally summoned the balls to correct it.

NEWT MON CHERI HE'S SO EXCITED ABOUT ONLY DESTROYING THE HOUSE'S POWER CIRCUIT WITH HIS EXPERIMENT. Because apparently last time he fucking caused a power outage in the whole block. Or county. We stan an optimist (no one talk to me about Crowley being an optimist I will go feral and rip your larynx out).

THE THIRD BABY DID NOT WIN PRIZES FOR TROPICAL FISH. THIS IS LIKE THE ENDING OF VILETTE WHEN CHARLOTTE BRONTE GOT GUILTTRIPPED BY HER DAD INTO WRITING IT AS AN OPEN ENDING BUT WE ALL KNOW IT'S A TRAGEDY FUCK ME.

CROWLEY THE PRAY THAT HE DOESN'T IT SOUNDS SO SUAVE IN THE SHOW BUT IN THE BOOK IT LITERALLY SAYS "AND FLEES". THE CHAOTIC ANXIOUS MOTHERFUCKER MAKES A RUN FOR IT.

AZIRAPHALE FUCKING GLOWERING AT CUSTOMERS AND SCARING THEM AWAY USING EVERY MEANS SHORT OF PHYSICAL VIOLENCE IM DEAD THAT LITTLE BASTARD PEAK CROSS INTROVERT ELDRITCH MONSTER ENERGY.

I CAN'T WAIT FOR ADAM TO ENTER (WELL AS A NOT BABY) AHAH.

I HOPE WARLOCK IS OKAY.

CROWLEY BEING DESCRIBED AS A YOUNG MAN DOES THINGS TO ME. AS DO THE DARK HAIR AND GOOD CHEEKBONES. DON'T EVEN TALK ABOUT DOING WEIRD THINGS WITH HIS TONGUE. I AM A SLUT FOR HER. IT'S TIMES LIKE THIS I REMEMBER WHY IM GREYACE AND NOT ENTIRELY ASEXUAL. IT'S CROWLEY.

I LOVE THE SUBTLE JOKES LIKE I DON'T EVEN GET SOME BUT THE DRY TONE IS HILARIOUS. LIKE HOW BOTH WARLOCK'S HEAVENLY AND HELLISH TUTORS READ FROM THE BOOK OF REVELATION. AND THE CUTTING COMMENTARY LIKE HOW THE DOWLINGS' SECRET AGENTS WERE TRAINED TO REACT TO WOMEN IN LONG ROBES. OR THE POLITICAL COMEDY WITH ALL THE CULTURAL ATTACHES AT ST JAMES. IT MAKES ME AMUSED EVEN THOUGH I HAVE NO CONTEXT. I WISH I UNDERSTOOD THEM MORE.

SORRY WHY AM I YELLING ABOUT THIS BEFORE 6 IN THE MORNING FUCK I FORGOT MY SLEEP MEDS NO WONDER IM STILL AWAKE AND HYPER ALSO CROWLEY ALSO AZI ALSO ADAM I HOPE MY LITTLE PLANTS MAKE IT.

WHEN IM DONE READING THE BOOK I WANNA REREAD IT OUT LOUD TO MY THREE LITTLE PLANTS TO MAKE THEM GROW HAPPY AND KNOW WHOM THEY WERE NAMED AFTER.

[thisisnotachair]

Good Omens Observation on The Power of Denial in Threes

I’ve noticed something while watching (and rewatching) Good Omens and I’ve not yet come across another mention of it online, though I’ve searched r/goodomens, and the gdoc linked from Neil Gaiman’s pinned post, perhaps I am not tumblr savvy enough to have found it. Anyway, I was raised Catholic in a fundamentalist-leaning community, and while I’ll probably be unpacking that for a long time yet, it has, oddly, been an advantage here through some familiarity with lore.

My observation has to do with the power of 3, more specifically, the power of a denial made 3 times.

In the bible, Jesus knows he’s going to be targeted, and tells Peter, “Dude, you’re going to deny me 3 times before the rooster crows.” And Peter’s all, “No way, man, you’re my bro, even when everyone else ditches you, I’m SO here!” Later, when Jesus is arrested, folks around town ask Peter, “Hey, weren’t you friends with that guy?” and 3 times he lies and says that he doesn’t know Jesus. After the third denial, a rooster crows and Peter breaks down because Jesus was right all along and he realizes what he’s done.

Good Omens:

S1E6. Adam denies Satan, saying he’s not his real dad because he didn’t raise him and he wasn’t around. Twice, of his own volition, he says, “You’re not my dad,” then Crowley prompts him to say it again, because HE knows that there’s power in the third denial. Adam says it again, and Satan crumbles.

Huh. Neat.

It gets better (worse).

S1E3. Crowley calls Aziraphale to meet him at the bandstand to discuss the situation. They can’t agree on what to do (rather, who should kill Adam), Crowley’s ready to give up and leave. Aziraphale tells him he can’t leave, as there isn’t anywhere that they could go (Armageddon would impact the whole planet), to which Crowley says, “It’s a big universe. Even if it all ends up in a puddle of burning goo, we can go off together.” Aziraphale is taken aback, surprised that Crowley suggests they go together. Crowley points out they’ve been friends for 6,000 years and *foomp* Aziraphale denies him, “Friends? We’re not friends. We are an angel and a demon. We have nothing whatsoever in common.” He says that he doesn’t like Crowley (liar) and that they’re on opposite sides, after which Crowley responds, “We’re on our side,” and Aziraphale says, “There is no ‘our side’.” Aziraphale has chosen a side, and Crowley saunters off, hurt. Denial No.1

S1E4. Crowley comes tearing up to the bookshop in his Bentley, and hops out to apologize to Aziraphale, though it’s a half assed, “Whatever I said, I didn’t mean it. Get in the car.” He’s in a panic because Hell found out it’s his fault that Adam wasn’t where he was expected to be, so his energy is a bit much. He says to Aziraphale, “But we can run away together. Alpha Centauri, lots of spare planets up there, nobody would even notice us.” *foomp* Aziraphale denies him again, “You’re being ridiculous.” He’s certain that he can sort it all out if he just has a chat with God, Crowley knows it’s futile and flaunts off petulantly. Denial No.2

I know you know where this is going.

S2E6. *sobs* Crowley’s second, “Tell me you said no,” absolutely destroys me. His struggle to get his words out when he wasn’t expecting things to be so… acute, then, “...if Gabriel and Beelzebub can do it, go off together, then we can. Just the two of us… just be an ‘Us’.” *foomp* Aziraphale denies him a third time.

Rationale For This As An Actual Thing:

Crowley stays engaged for a few more moments, mentioning the bookshop, and turning back when Aziraphale calls after him but his face is impassive once he sees that Aziraphale is still fixated on them both going to heaven. We know the denial has sunk in when Aziraphale’s, “I need you,” isn’t as effective as it should be. When that doesn’t land (at all), Aziraphale reaches again, reminding Crowley what he’s been promised, but that doesn’t work, either. Crowley’s mention of the nightingale is somewhat cruel, IMO, he’s taking his broken heart out on Aziraphale, yet it’s also his way of saying to him that it’s too late, it’s done, “We could have been …us,” the opportunity is in past tense. Crowley’s fierce [plausibly most re-watched kiss in history?] conveys his intention, his sincerity, and his hurt. He’s not trying to change Aziraphale’s mind, it’s too late for that. Rather he’s communicating in a way that Aziraphale will understand, explicitly: Crowley’s proposed “us” isn’t just about running off to another solar system on a friendly whim, it’s a real, explicit life together as more than friends that he's asked Aziraphale to share. And was denied a third time.

What about the rooster crowing, though? Huh?

Well, the last bits of scenes wrap things up insomuch as a heart wrenching season finale can at all, and they’re still watching each other. When the Metatron comes back and Aziraphale hesitates, he’s glancing out the window to look at Crowley standing gloomily by the car, and Crowley stands outside watching until the elevator door closes, maybe there is something that could mitigate that third denial[?]. At that, he gets into the Bently where the Nightingale [in Berkeley Square] song plays as he drives away, the nightingale has been a symbol of their love, now it is the figurative rooster crowing.

Notes:

I’m being careful about what fan content I consume because I don’t want to go into S3 with expectations, I’d prefer to savour it like my first ox rib. I enjoy reading things folks have noticed, but I don’t want to go down S3 theory rabbit holes much.

My observation is based on the show, I’ve consumed the first half of the book in a day, maybe I can finish it tomorrow. I just wanted to get this put into words now.

Aziraphale’s rejection of Crowley is more implicit than Adam’s rejection of Satan, so I could be reaching, yet I feel like Adam’s 3 explicit rejections matter, and this context is a slow reference back to it (and word on the web is that Neil Gaiman doesn’t do things accidentally).

Could it also be a Betrayed With A Kiss thing? Maybe, I don’t think Crowley is betraying Aziraphale here, though maybe symbolically it’s a way to make Aziraphale recognize that HE emotionally betrayed Crowley. I genuinely believe Aziraphale didn’t mean to, but it happened powerfully, meaningfully, and in such a way that it’s going to take a miracle [waggles eyebrows] to mend.

I’m sure Aziraphale is aware of the power of the 3 denials, but, plausibly, each time Crowley asked, there were other ‘tabs open’ that prevented Aziraphale from explicitly picking up on it.

I haven’t looked closely at how many times Aziraphale explicitly, deliberately defies heaven (in a significant way, not just small whims), perhaps there's something there that could be meaningful. [Starts from the beginning AGAIN.]

[createserenity]

What are the rainbows all about?

There’s more than one. We all know about the rainbow that fades in over Crowley after the failed awning kiss scene, but what about the other times they appear? This is just after he talks to Nina about how she feels about sudden rain so it might just be linked to that.

Why a rainbow here though? I don’t think it’s just the connotations of the rain being similar to the rain in The Flood. Crowley covers the sky with black clouds and then doesn’t miracle them away so for these to instantly disperse and a rainbow to appear (we see the sun is instantly back and everyone has put down their umbrellas through the bookshop window) seems like it would need some outside influence. Should we interpret as being a sign sent by somebody? And if so, who? The Almighty?

If you ask someone what the meaning and purpose of the rainbow is in the story of Noah’s Ark they will generally say it’s a sign to humans that God won’t flood the earth/destroy all life again, with the implication that the rainbow is for humans to remind us of this. That is partly the intention, and it’s established truth in the GO universe because Aziraphale tells Crowley that the Almighty is going to put up a rainbow “as a promise not to drown everyone again”. 

There is another purpose to the rainbow though in the “real world” Bible, one which is repeated several times during God’s speech to Noah in Genesis.

“Whenever I bring clouds over the earth and the rainbow appears in the clouds, I will remember my covenant between me and you and all living creatures of every kind. (…) Whenever the rainbow appears in the clouds, I will see it and remember the everlasting covenant between God and all living creatures of every kind on the earth.”

This is God speaking here, so the I is God. They’re saying that future rainbows will not be sent by them, but will appear naturally and will serve as a reminder to themself that they promised not to drown everyone again. What God is saying in this part of the Bible seems to be along the lines of, you humans are imperfect and this angers me, but also I know I am vengeful and that this is not good. Because I’m fallible and liable to forget my promise I��m making this thing that will appear of its own accord in certain conditions to remind me to check my vengeful nature.

It's interesting really because God is supposed to be infallible, that’s one of the main points, except this speech by God is suggesting quite literally that they know they are fallible. If they weren’t they wouldn’t need a reminder.

I guess how the rainbow over Crowley is interpreted depends on how much whoever decided to put it there from the GO production team really knows about the story of the rainbow. If they only know that it as a sign to humans then it could have an entirely different meaning than if the decision to put it there was made by someone who knows it was a reminder to God as well.

Why does the rainbow appear here?

Since the rainbow is to remind God not to end all life on earth again could this be something to do with season 3? A reminder of that promise and a suggestion that the Almighty herself doesn’t actually want life ended? I’m not so sure about this one because we are repeatedly shown that in GO the Almighty is fully capable of doing cruel things (like sentencing Job’s children to death – unless we see this as weird complicated test of Crowley because God is playing a game of her own devising), so to have it suddenly turned around and have her not be in control of the divine plan seems odd (but then she is odd, absolutely bonkers if her speech to Job is anything to go by – the Almighty of the GO universe doesn’t seem very sane or logical).

It’s also strange that the rainbow, a promise to humanity and reminder to the Almighty not to drown everyone again is followed by Gabriel saying, “There will come a tempest, and darkness, and great storms”. So what is that saying about the original promise? Or what is the rainbow telling us about the statement that follows?

Maybe it’s more literally related to the vavoom moment Crowley is trying to create here. We’ve just watched a deluge of water ruin his attempts to get Maggie and Nina to fall in love. Could the awning ripping be interpreted as an act of God? If so the rainbow could be some sort of comment on that act and the fact that it meant his attempt at creating that moment for Nina and Maggie didn’t go quite right. A sort of, I did say I wouldn’t drown everyone again, but I couldn’t let this vavoom moment work so I had to drown (soak) them. If so that begs the questions – why? Why did the Almighty not want this particular moment to work out? Simply thwarting a demon’s plans, or something more?

I don’t really have any answers here. These are all just random musings, maybe someone who is better at research and interpretation of scenes can take up these questions. It’s really not my forte!

Another idea, which is probably a bit out there, inspired by this meta by @vidavalor.

It’s a very long meta, but a really fun read. To summarise though it is all about her theory that Crowley and Aziraphale kissed for the first time way back after The Flood happened (there’s so much more to it, seriously do read it!) So what’s this got to do with the rainbow? Well, whilst I love the idea that they’ve been doing something all along I don’t think that’s what Neil is writing here and I don’t actually expect it to be the case. (I might be totally wrong of course and I do love playing with this theory for fun, as in this post and this one). I do kind of buy into the idea though that he might be writing a story where they have had an almost-kiss before – specifically that Crowley might have tried or wanted to kiss Aziraphale before and Aziraphale has either rejected it, not noticed or it’s been stopped by outside influences. There’s so much great meta out there about how 1941 might have been the time when Crowley tried for a kiss and Aziraphale rejected him either before or afterwards, which does seem the most likely time in their history for that to happen. What if the almost-kiss happened not in the bookshop but later whilst they were tracking down the zombies (I believe Neil has hinted they might return in season 3) and then it was prevented by a deluge of water in some way? (And afterwards Aziraphale decided it would have been a bad idea – hence, “you go to fast for me, Crowley” in 1967.)

Or what if there were previous times when Crowley wanted to kiss but Aziraphale was just oblivious? Could it have been at the flood? They did something together (maybe saved some people?), went and sheltered from the rain under a canopy of trees, looked into each other’s eyes and then Crowley had a moment of realisation, I want to kiss this angel, but before he could act on it they were stopped by a deluge of water. Not the rain (that was already falling and wouldn’t have stopped them by itself) but by the other form of flooding that happened during this story. Specifically, this from Genesis 7:11:

“on the seventeenth day of the second month—on that day all the springs of the great deep burst forth, and the floodgates of the heavens were opened.”

So a deluge stopped a kiss during the flood or in 1941. Now another deluge has stopped Maggie and Nina’s potential kiss. Could the rainbow be a sign to Crowley? Next time I promise I won’t do that to you.

If it’s that and then the bookshop kiss is the one that isn’t stopped by water then the Almighty really is playing a pretty strange game with these two.

Are there anymore rainbows?

Yes, two other appearances of rainbows. The very first time we see a rainbow is when the angels come to check on Aziraphale after they spot the plume from the Jim miracle. It appears in front of him and then sweeps over the angels as the camera pans around. The only significance I can see here is that this is the start of the whole “love” thing with Maggie and Nina that later leads to the awning scene. It's also the only time I can find where they appear with Aziraphale on screen rather than Crowley.

The last time we see rainbows is in the final 15 minutes. Firstly one appears on the window of the Bentley when Crowley watches Aziraphale leave. This is not a great screenshot, it's across the window in line with his watch and a second after this the rainbow becomes clearer and actually doubles up so there’s two of them.

Finally when Crowley is driving away right at the end once again the rainbow plays over the Bentley. Another promise? Or just a sign of hope, which is the other meaning ascribed to a rainbow?

What do these rainbows mean?

I have no clue. Honestly, it could just be that the whole theme of this season seems to revolve a lot around colour and using light and rainbows might just be an extension of that with no other meaning. The world is super colourful a lot of the time, I mean it’s literally painted rainbow colours, with the shop fronts all being different colours and the extras all wearing super bright clothing – notably an awful lot of orange and orange-yellow tones.

Interestingly in this rainbow world that GO shows us the colour purple is missing a lot of the time. It appears in the tartan various characters wear (Aziraphale, Saraqael etc) but doesn’t seem to appear much elsewhere except in the rainbows (it’s difficult to see in the rainbows but it is there, indigo and violet are difficult to see in real life rainbows to due to the length of the light waves). Purple is the colour associated with royalty, authority and notably Jesus at Easter so it’s intriguing that it is missing from the rainbow of the world here.

Anyway the point is I find all this strange. Could be something, could be nothing. I’m just a bit obsessed with noticing details at this stage!

[bloodashre]

"Crowley, what are you doing?"

Crowley raised his brows. Wasn't it obvious?

"I'm going to stop this before everything is destroyed."

"But it'll destroy *you*. And "

"I know there's no coming back from it. But I have to. For humanity. And I've already lost everything."

Aziraphale stared at him, his eyes wet with tears. "You still have your life. There's alcohol and music. Your - what about your car, Crowley? You love that car."

"I do love that car. But none of that will matter if this doesn't stop. There won't be any more alcohol or music or cars. There won't be anything."

"That's not entirely true. There just won't be any humans."

Crowley nods. "Exactly. No humanity. The world, as we know it, will cease to exist. And all those lovely things that we both enjoy so much will be gone because there will be nobody to make them anymore."

Aziraphale smiled. "Well, yes, but that's because they'll be here."

Crowley gave him a pointed look. "Not all of them."

"Well, no, of course not. But all the good ones will."

"And who gets to decide who that is exactly? Because I don't trust -"

"Well surely you don't think we should let in murderers and -"

"Why not? I mean, if God said that any sin can be forgiven, then it should. Besides, she's killed more humans than anyone. Why are you taking her side?"

Aziraphale blinked. "She's *God*. She knows what she's doing."

"So you never doubted her? Never once disagreed with or went against her orders?"

He pursed his lips tensely. "That was different."

"How? God gave you an order. 'Keep them out.' And you defied her. Because you knew it was wrong. This is exactly the same."

Aziraphale gestured in frustration. "No it isn't, Crowley. All I did -"

"All you did was so the exact opposite of what you were told to do. You know I don't understand this. You are so clever. Why are always so thick?"

"Stop insulting me or I'll -"

"You'll what? You've already broken my heart. There's nothing else you can do to me that would be worse than that."

Aziraphale stopped dead. "What are you talking about?"

Crowley squinted. "What do you mean, what am I talking about? You, me, in the bookshop, before you left to be in charge of Heaven.""Yes, I know what happened when - in the bookshop." He replied exasperated. His eyes widened. "Wait. Are you telling me that that was real? That -"

"That I'm in love with you? Yes, you idiot." He said the words without thinking, but it didn't matter now. He only had a few minutes left anyway. Might as well be honest with them.

"I... Crowley," was all he could manage. "I really don't know what to say."

Crowley pulled down the corners of his mouth. "You said enough then."

"Well - that's not fair. I didn't know."

"What do you mean you didn't know? I don't think I could have been any more clear." Aziraphale wrung his hands.

"I thought you were just trying to get me to stay. You know, not come back to Heaven. I didn't think you actually -"

Crowley melted on the spot. He stared at the angel. He'd been so angry with him, but his feelings hadn't changed. He gently grabbed him and pulled him close. Aziraphale stumbled a little, taken aback by the sudden movement. Crowley put a hand on his neck and pressed his lips against the angel's.

Aziraphale's eyes widened, caught off guard, but he didn't pull away. Crowley pushed him softly against the wall, and he felt himself fall deeply into the him. Without thinking, his hands flew to Crowley's face and he kissed him back. He couldn't fight it a *second* time. The hunger that had been gnawing at him since their last kiss was too strong.

Crowley felt his angel's hands on his cheeks, felt him press back against him with his delicate lips... He started drowning. He couldn't contain himself. It was like he had been thirsty for centuries without knowing and was drinking water for the first time. He slipped his hands around Aziraphale's waist, pulling him in. He wanted to be as close to him as possible. He forgot about time, he forgot about humanity, and everything else just slipped away.

[wrengrif]

You know what we haven't done for awhile?

That's right. It's WHAT IF time.

Okay, but let me preface this What If with saying, I don't believe in the coffee theory. That it was poisoned or held some mystical juice or whatever. I believe Aziraphale went to Heaven because one, he really didn't have a choice and two, he thinks there is some way to really turn Heaven around. To make it an actual Good Place.

However ... I have read some compelling theories lately about not taking the Final Fifteen at face value and I got to say, it's gotten me to wondering.

I keep coming back to Neil and the other Good Omen creators saying, nothing in the story is accidental. Which got me thinking about themes. Themes that interwoven all throughout Season 2, emphasized in the background. One of the main themes was, in fact, subterfuge.

Hiding Gabriel from Heaven and Hell.

Saving Job's children.

The bullet catch, the photograph, the 'magical words' caught being lipped through a shop window.

Even Edinburgh, where they pulled a couple of flim-flams on the surgeon and on Elspeth. If Season One was about the power of them coming together, Season Two was about their ability to out-smart both Heaven and Hell on multiple occasions. Not always perfectly, as seen by Crowley getting dragged back down to Hell, or in fact the entire Armageddon plan.

The point is though, that Crowley and Aziraphale are old hands at subterfuge. They were able to carry on a friendship, for over 6000 years, without getting caught by Heaven or Hell (note, I don't think they pulled a fast one on God. I'm pretty sure She knows and she's all for it. Number one shipper, Her.) They trust each other, implicitly.

So, when the Final Fifteen happened ... how are we to know that they weren't already communicating on an entirely different level? What they said, I have no real proof. However, I do think that Crowley and Aziraphale perhaps knew, from the get-go, that they were saying good-bye to one another. That Aziraphale was going to try and fix the problem from the inside, not Heaven itself per say, but the issue of them finally being free of Heaven and Hell so they could be together.

The whole fight was Crowley not arguing with Aziraphale about 'taking a new job', but instead about Aziraphale going alone. Begging Aziraphale not to go into the lion's den, that they could figure out a different way together, there, on Earth. Escape the Metatron, regroup, make up a plan. Aziraphale knew, though, that they were being watched and there was no way for them to get out of the Bookshop without both being destroyed. They went through the motions of fighting about one thing, while fighting about something else entirely.

They nearly made it through the whole fight within a fight, until Crowley cracked. He was scared he'd never see Aziraphale again and he had to let his angel know how he felt. Thus, The Kiss. The desperate, 'I love you, don't do this, don't leave me' kiss. Aziraphale kissed back, half-apology, half-confession, 'I love you too, I have to, they'll kill you'. When he pulls back he's mouthing, 'do it again', and he nearly says 'I love you', but says 'I forgive you'. Perhaps, I forgive you for making this even harder for me.

Crowley's mad, to be sure, but he plays it to the hilt. 'Don't bother'. 'No nightingales', perhaps code letting Aziraphale know not to to contact him until they knew it was safe, really safe. He walks out the door and then stands by The Bentley. Another message letting Aziraphale know he'll be there, on Earth, waiting. Aziraphale pausing, perhaps mouthing, 'Trust me', before disappearing into the elevator with the Metatron.

Honestly, this is all conjecture, but What If? What if they're already playing Nefertiti and the three shell game? Look here, at Aziraphale, but don't look over here, to see what Crowley is doing. Magic! Smoke and mirrors!

Aim for my mouth, but shoot past my ear.

What if?

(Note, NO ONE SHARE THIS WITH NEIL GAIMAN. This is just brain thoughts. Leave the man to his creative process and don't fuck with him.)

[hikarry]

Crowley loves humans and humanity, but does he love them enough?

In season 1, he makes it very clear he wants to stop Armageddon because the humans don't deserve to be destroyed. And he uses the human delights to try and sway Aziraphale into joining him and trying to save the Earth

I have no doubt he loves them. They are equal parts amazing and terrifying. And Crowley is fascinated by that.

And yet

His main reason to stop the Apocalypse isn't exactly the humans and humanity in general, no. It's way more selfish than that: He wants to keep his way of life. He wants to keep his car. His clothes. His routine. His angel. Because if Armageddon happens, not only is everything destroyed, but Aziraphale will be recalled to Heaven and they will be forced to fight against each other. Worst case scenario they won't see each other ever again, best case scenario they both die. And he can't stand by that.

He has spent 6000 years on this planet with Aziraphale. He hasn't known other reality in a really long time, and he doesn't WANT another reality.

If it was really only because he purely cares about the humans, he wouldn't beg Aziraphale to run away with him and leave behind the humans. Twice. He wouldn't go to a random bar and get plastered out of his senses when Aziraphale (supposedly) died and just wait for the end of the world to take all the humans and himself with it. He could have run by himself after the bookshop fire. No one was stopping him. But he didn't. And he didn't because of Aziraphale.

Because Aziraphale is the real reason why he wants to save the world. He wants to stay and live with him, on Earth, with the humans. But with Aziraphale gone, all his plans are useless. His existence is useless.

Crowley needs Aziraphale. He is severely dependent on him, and I believe season 3 will be good for him to learn how to be an individual again with goals that don't depend on the angel. Being separated from the angel will hurt, but will do him good.

[phantomram-b00]

So I saw this meme and it perfectly capsulate how I feel with what I gotta talk about because my love language is talking about my special interest and this brainrot is still strong even if we’re in 2024.

So I know I haven’t done a meta-analysis in a hot minute. I think the last I did was the Coffee theory. And imma be for real, I wasn’t sure if I wanted to keep going (more on that later) but then I saw this and I said “oh yeah, this is for me to talk about”. As it about Aziraphale. More specifically about people claiming he’s a villain or wrong. Which is hilariously wrong in so many ways.

Mostly because, name one thing about that that automatically made him a villain? Especially with after everything he have done. But also do people not remember the fact that he did deny it at first. After what happen technically five years ago, he want zero parts with Heaven. The last thing he ever wants to do is go back to his former side that tried to kill him just because he saved earth, God’s creation. The only reason he wanted to join was 1) Metatron said he can appoint Crowley. 2) Aziraphale believe if he an archangel he can fix the broken system if it means sacrificing his own happiness. And this is just me personally, 3) Metatron threaten him and even after as he walk with Aziraphale gave him no choice at all. Then again he never really did but I’ll get to that later. None of those reason scream villainous, did he choice heaven? Yeah, but that shouldn’t automatically deem him as a villain. If that was the case, he could’ve been considered “villain” in season 1 when he tried to back out from trying to save the world; but even if he was considered that back in season 1, that still doesn’t doesn’t make sense.

The reason he tried to back out at first is because he was stressed and was scared. Imagine being in his shoes, your whole life you were taught and molded to obey without questioning the righteousness of God/Archangels with a chance that if you do to either fall or get destroyed. So you’re made to believe you are on the “good side” and expected to do “the right thing” in their eyes because it “what God wanted” so you do the right thing so you can get approval and not get ridiculed or worse punished. That’s how Aziraphale was raised to believe, regardless that he heavily disagrees with armageddon as much as Crowley does he scared to revert the apocalypse not to mention stressed given how many days they have left on this earth. But one thing also about Aziraphale is that he’s trying to hold onto hope that maybe he can try stopping it by talking with God, and when that doesn’t work he did try to reach out to Crowley before being inconveniently discorporated and even so he still try to go back to earth to revert it. Was there thing Azirapahle could’ve done better? Ofc, I don’t think he should’ve said “I don’t even like you” to Crowley or said “I forgive you” the first time and many others but that still doesn’t make him a villain. He’s just a flawed grey character, even in the blitz episode in season 2, they talk about how they’re a shade of grey.

As for if he’s wrong for the choices? Ahhhh see this is where it’s tricky because many people have commented their beliefs. So it truly up to your opinion regardless. But since I’m making this post, I’ll say, no. He’s not wrong. Going back to what I said, he wants to make Heaven a better place. You can’t blame him for wanting to fix something. Crowley is absolutely right that Heaven and Hell for that matter is toxic but Aziraphale wanting to make it better isn’t inherently wrong. It just Aziraphale gonna have to see that Heaven is beyond repair and it isn’t his responsibility to fix the system that been damaged but to Aziraphale he wants to. He wants to make it better even if it means leaving everything he loves and care about. Even if it hurts to leave Crowley, his bookshop, or everything but if he wants to fix it, I don’t think you can blame him.

And I said this in past post but I think regarding him wanting to appoint Crowley, I think he just want Crowley along his side because he want him to fix it with him. But Aziraphale I’ll admit should’ve considered how Crowley already feels about heaven. He was casted out and wants no part with Heaven at all. So even if there a chance to fix it in his eyes, Heaven is damaged. Far too damage to repair but also that the source of his trauma. So why should he come back? So I’ll give it that, and I think deep down Aziraphale knew this outcome might’ve played out but I think Aziraphale thought if he suggested maybe fixing it might spark something. How Azirpahale is thinking is that, just because something is damaged doesn’t mean it unfixable and there’s hope for salvaging it. However, Crowley’s thinking is that there no fixing that’s dead in the water. In this case neither are wrong.

And look I’ll say this, Crowley’s plan to running away, even though it sounds good. I mean, if Beelzebub and Gabriel can do it (which they deserve their flowers like say what you will about this couple I love it.) why couldn’t they? But the thing is that even back in Episode 1 of season 2, Aziraphale told Crowley when he was an angel that everything was going to be shut down. Which would also include Alpha Centauri or any other dimensions he wants to runaway with Aziraphale. Granted it not guarantee that maybe Alpha Centauri or any other galaxy aren’t save maybe they will and I’m reading it wrong. However if Earth is to be destroyed because of this Great War that going to happen, who to say the other galaxies would be safe too? It too risky to just run away I mean granted it not safe to stay neither if the world might end but running away won’t solve anything.

And now with the season coming happening, I think even though yes, Aziraphale did chose Heaven over Crowley which yes that fucking hurts. I’m not going to deny that. It hurts on both sides with Crowley being rejected and losing the one thing that made sense in the world and Aziraphale having to give up everything and realizing he made a mistake. It a tear jerking mess. But at the same time, with season 3 coming and confirmed, now he has to save the world and Crowley on his end without talking to Crowley. Which is gonna hurt like hell (or heaven who knows they’re both toxic atp) but Aziraphale will do anything to save and protect Crowley and Earth. And I’m pretty sure he would do anything to get Crowley back or the bookshop back

Now just a disclaimer, as much as I relate to this character and he’s my favorite and my comfort character, I’m not going to say Aziraphale perfect. He’s a bastard worth knowing for a reason right? But all I’m just saying is that villainizing him is throwing away all his characteristic and progress he making or made out the window just this one decision, we can’t villainized him for this one instant especially as it really out of character for him to ever be a villain to begin with. I’m not saying you have to like him but again don’t villainize him for this one choice where there more nuance into it.

But that’s really my two since, I just don’t see why people would think Aziraphale’s a villain or wrong imo. Might be controversial but hey, it was fun to talk about it. If you guys have any opinions are this, that cool let me know, if you agree or disagree hey valid but plz be respectful and don’t call Aziraphale the villain. Honestly how do you feel about people calling aziraphale a villain or wrong for what he did?

Now onto what I was talking about before (you don’t have to read if you don’t have to, this is just me explaining it. If you wanna read, that’s cool too. ^v^)

So, before anything, uh I’m not leaving tumblr or good omens fandom. No, I love the fandom and tumblr enough to leave. Good omens fandom have been very lovely and I met people on here so I like to shoutout to that but also Good omens is my comfort and I don’t wanna leave that.

But what I’m getting that is that, without getting too personal, I’ve been having posting anxiety. What I mean is that I’ve been having low confidence over what to post and if this post will be good enough. And it doesn’t help that I haven’t been feeling the best for the past couple of months or so. I thought 2024 would be different and I mean I have faith that it is, just things haven’t been easy I’ll just say. And haven’t been feeling or doing the best. No I’m not going on a hiatus, i hope not, i just need to think things over.

However, I think I have some thoughts, like I do wanna post more art but I do also wanna continue talking about stuff. Maybe both too? I mean there many drawing idea I have so much idea off, I just need to not have this anxiety weighting over me. Or not overthink things.

If you have read this far, thanks for listening ghost pal! I guess TLDR: I’m not going anywhere; I just want to improve and post stuff I like. Again good omens is my favorite show and I love it to bits and I have so much to say and/or draw. Just ahh, gotta work on it. But thanks for listening and hope you enjoy this ghostly rambles on their favorite character. And stay tune for another post I’ll do. And uh, boo!

[ineffable-hyperfixation]

@hikarry asked that I share my new theory, but I am still a bit hesitant because I haven't fully...fleshed it out yet? And I'm leaning towards it being wrong but fun anyways so I really wanna write it out well!

Basically I remembered the deleted destroyed Whickber street dream and combined that with the fact that the people on the street are always the same (explained by, it's on a set and those are actually extras not just random people who ended up in the shot) and wearing...fashion from many different time periods? (Not so easily explained) combined again with Aziraphale's interesting "we both get plenty of use out of it" line, which sure we like to speculate on but like....it's still a strange line. And a meta I saw about how strange the whole street is....who in Soho doesn't visit a record shop? Oh and also the fact that we know at least Crowley affects the world around him (mostly subconsciously) annd of course the "you can't leave this bookshop" sprinkles in too

All of that in my head brings the conclusion of....what if Whickber Street isn't real anymore?