#good omens analyses

[turtleneck-crowley]

I’ll be your mirror (two halves of a whole idiot) ☯️

The Ying and Yang of the ineffable husbands

Sorry guys, I’m not too articulate,

but something wonderful about the ineffable husbands is that they both share the exact same moral principles, values and romanticism, but one acts it out and the other feels that more intensely (while one acts cool about it).

Which means that Crowley actually naturally feels a stronger moral obligation for things than Aziraphale whilst seeming nonchalant about it, while Aziraphale may actually be doing it earnestly and in an obvious manner to people’s eyes out of a sense of duty and is pushing himself. “I know a lot more than you do” I paraphrase Crowley when he talked about the chance of being high up in heaven.

For example, Aziraphale seems like the lovey dovey Jane Austen fan who is an utter romantic, but Crowley must feel and adore that triple times, living it out.

Crowley on the other hand, would seem like the type that gets annoyed easily by his sarcastic persona, but it is actually Aziraphale that feels annoyance more intensely.

Crowley acts like the rebellious type, showing a “bitchy”/grumpy air about him, dressing like he’s not much of an optimist about being wholesome, but Aziraphale is actually the cooler one at the end in his core.

One acts overly obviously like what the other doesn’t show or represses, but feels more intensely.

In conclusion,

Aziraphale is actually the cool, rebellious, annoyed one and Crowley is actually the sweet, naive, cute one.

But they act like each other’s mirrors and that’s why they’re as sweet as chocolate and peanut butter cause they are inverted Reese’s pieces (or just inverted/inside out in general).

They are mirrors of each other’s hearts and personalities. Amen. :) <3

P.S. With that awareness, I think we can solve a lot of theories on them and what they’re up to.

On the surface, Aziraphale looks like a blushing damsel whilst Crowley looks like an adoring simp but in their eyes, you can actually see the firmness innAziraphale eyes and the pining, submissive admiration in Crowley’s.

And that’s hella cute!

[ranseur]

actual scene as it happened in the show

[sentientsky]

good omens fanartists, i love u most ardently. good omens fic writers, i would commit arson for you. good omens shitposters, i cherish and adore u. good omens angst meta-analyzers,,,my therapist knows your names

[actual-changeling]

@sassasafreeaction i saw your tags on this post and just had the sudden, violent need to talk about them

As someone with a bad case of CPTSD that comes with insane hypervigilance, Crowley's behaviour is not only incredibly familiar but also makes a lot of sense.

He is used to having to watch his back, not just in hell (where it's a matter of life and death/torture) but also on earth, while Aziraphale has a general sense of unease and the urge to be careful only when he thinks he is doing something potentially incriminating. So slipping into the role of protector was easy for Crowley, in his mind Aziraphale needs him to do it because he won't/isn't doing it.

Scenes like the ending of the Edinburgh flashback show us that Crowley is not being paranoid, it is based on actual traumatic experiences.

I imagine it is also the only way he can feel some relief when they're in public. Having the wall in your back, the person you care about in front of you, and the door and windows in your line of sight is calming and soothes that little anxious scratching inside your ribs, but even then it never fully disappears.

He has all his little quirks, like the twirls he does while walking, constantly craning his neck, even the sunglasses, which yes, they hide his eyes, but they also hide his gaze; people cannot see what he is looking at. I doubt he is aware of it, I certainly wasn't until someone pointed out that no matter where I am, I periodically check the entire room, physically moving my body and head to do a 360°, for example. Even when I pay attention to my behaviour, it's instinct, I do it because that's just what my brain thinks it needs to do to be safe (and it was truly needed at some point).

Hopefully, once they actually are safe, Crowley will be able to properly relax (and probably be super exhausted for months if not years), but some habits and a part of the hypervigilance will never go away.

[fearandhatred]

no aziracrow art speaks to me more than the ones with crowley hugging aziraphale from behind and burying his head in his shoulder. this fulfills every single tier of maslow's hierarchy of needs for me and if i actually get it in season 3 i might permanently lose my mind and you guys will never hear from me again

[cirrus-grey]

After having some time to think about it, I actually can imagine a universe where Book!Aziraphale goes along with the Metatron’s plan. Except, instead of being "Oh wow, I get to go back to heaven and Crowley can come with me??" it would have to be under the tacit understanding that "five minutes ago we were going to erase you from existence, and now we're offering you a job as an archangel, isn't it wonderful how quickly one's fortunes can change?" is a threat so thinly veiled as to be nearly transparent.

In those circumstances, his plea to Crowley would be less "but you could be redeemed!" and more "I'm going to need an ally, and you're the only one I can trust," and Crowley’s response would have to fall closer to "you think you're in danger? If I put one toe out of line up there I'm sure there are a hundred angels who'd be delighted to turn me into a former-demon shish kebab on one of those flaming swords your lot are so fond of."

There probably wouldn't be a kiss, in this version. But if there was, it would an "I love you," and "I'll miss you," and "please, whatever happens, stay safe," rather than that angsty, angry, and bitter mess from the show.

The dancers would all be following the same steps, but they'd be moving to a very different tune.

[moontoonart]

Good and Evil in “Good Omens”: A Theological Reflection on Aziraphale and Crowley ⸻⸻⸻⸻⸻⸻⸻⸻

In the world of Good Omens, the eternal debate between good and evil is explored in unexpected and profound ways. The series, based on the novel by Neil Gaiman and Terry Pratchett, offers a theological reflection that challenges traditional concepts of divine justice, revealing how the boundaries between good and evil are not always so clearly defined.

Aziraphale and Crowley: The Unlikely Pair of Good and Evil

Aziraphale and Crowley are emblematic characters who represent good and evil, respectively. Aziraphale, the angel, is often seen as a guardian of divine rules, but his tendency to deviate from celestial norms reveals an unexpected complexity. Despite his role as a bearer of goodness, he often questions divine decisions and acts according to his own judgment. For instance, his act of giving the flaming sword to Adam and Eve is initially seen by him as a potentially wrong choice, although Crowley reassures him that, as an angel, Aziraphale cannot truly do anything wrong. This resonates with James 1:17: "Every good and perfect gift is from above, coming down from the Father of the heavenly lights, who does not change like shifting shadows."

Crowley, the demon, is also a surprising character. Although he represents Hell, his actions and motivations demonstrate that even a demon can have positive intentions. Crowley reflects on the issue of temptation and worries whether, by tempting Adam and Eve, he acted correctly. His reflection raises questions about the role of the demon in causing trouble or doing good, and suggests that even when a demon seems to act with good intentions, it can create chaos in unexpected ways. Romans 8:28 states: "And we know that in all things God works for the good of those who love him, who have been called according to his purpose." This verse suggests that even in the most controversial actions, there may be a divine plan guiding towards good.

The Ineffable Plan of God

The concept of the Ineffable Plan in “Good Omens” is central to the plot and theological reflection. This plan, which transcends human understanding, implies that every action, whether good or bad, fits into a larger, incomprehensible divine design. The Bible itself mentions the ineffability of the divine plan in Isaiah 55:8-9: “For my thoughts are not your thoughts, neither are your ways my ways, declares the Lord. As the heavens are higher than the earth, so are my ways higher than your ways and my thoughts than your thoughts.” This passage underscores that human understanding is limited compared to the divine plan.

The Act of Giving and Tempting One of the main concerns of the characters is whether their actions align with the divine plan. Aziraphale, worried about giving the flaming sword to Adam and Eve, reflects on whether he acted correctly. His concern is eased by Crowley, who reassures him that, as an angel, Aziraphale cannot do anything truly wrong. This reflects the idea that angels, as messengers and servants of God, always act in accordance with divine will, as highlighted in Psalm 103:20: “Praise the Lord, you his angels, you mighty ones who do his bidding, who obey his word.”

Crowley, on the other hand, is troubled by whether his role as tempter may have had positive or negative effects. He wonders if it is possible that, even if a demon does something right, it could still create disastrous consequences. This theme is explored in 1 Corinthians 10:13: “No temptation has overtaken you except what is common to mankind. And God is faithful; he will not let you be tempted beyond what you can bear. But when you are tempted, he will also provide a way out so that you can endure it.” This verse suggests that even in situations of temptation, God provides a way out and guides towards salvation.

The Question of “What is Right and Wrong”

Crowley raises fundamental questions about the concept of divine justice and understanding what is right and wrong. In the series, his reflection poses a crucial question: if a person is punished for a mistake, why not instead guide them to understand where they went wrong? This reflection raises deep questions about the nature of divine justice. If punishment is the only response to errors, then the process of learning and moral growth is sacrificed. Crowley suggests that understanding and guidance are more effective than mere punishment, and that true moral progress comes from awareness and improvement rather than simple sanction. Proverbs 3:12 says: “Because the Lord disciplines those he loves, as a father the son he delights in.” This verse highlights that correction and teaching are tools through which God guides and disciplines, rather than mere punishment.

Conclusion: Beyond the Dichotomy of Good and Evil

“Good Omens” invites us to reflect on how categories of good and evil may be more nuanced than they appear. The complexity of Aziraphale and Crowley’s characters, and the concept of the Ineffable Plan, show us that morality is often a gray area rather than a clear-cut boundary. Actions that seem wrong or evil may ultimately serve a higher good, and decisions that appear right can have unexpected consequences.

The series challenges us to reconsider our ideas about justice and redemption, suggesting that true good and true evil are not always what they seem and that a deeper understanding of the divine may reveal a grander and more complex design than we can imagine. Ultimately, good and evil might be more interconnected than we believe, and actions that seem immoral or wrong could, in the grand scheme of things, serve purposes that transcend our immediate understanding.

[wintahwonderland]

nothing in my brain but crowleys little exhale, shoulders falling just a little and that hopeless expression on his face for just a moment, his whole body showing how exhausted he is, sad, tired and heart-broken

(and all this without even being able to see his eyes, they were making him wear his glasses for our sake)

[freddiesflowercrown]

Final Fifteen opinion almost a year after the release of season 2 YAYYYYYYY

Thing is I personally never interpretated aziraphale's "you're the bad guys" as something that meant "you crowley are also a bad guy because you're a demon from hell". I always saw that "you" as a reference to hell. I mean crowley constantly says "your lot" even in s2 to aziraphale when he refers to heaven so i never saw the difference between what crowley does to what aziraphale did in that moment, they were talking about hell and heaven anyway. Also aziraphale and does not believe crowley is a proper bad guy, he believes he is nice. (and why would he take someone he thought was bad to the """good""" place anyway?)

And that also never made the scene less heartbreaking from crowley's POV in my opinion. A conclusion that we come at by the end of season 1 is that both heaven and hell are bad in one way or another with both aziraphale and crowley completely accepting that and that's also one of the reasons they now are on their side. So if aziraphale thinks hell is bad and heaven is good it seems like he's taken a step backwards and somewhat rejects (?) "their" side. So if that made sense i don't think this pov made the words hurt less for crowley or something?

Now whether aziraphale actually means it/rejects their side or not a different discussion 😭

[thekats]

Hello, do you have a moment to talk about Michael Sheen's acting? No? Perfect!

Look at this legally acquired still of Aziraphale just after Crowley left the bookshop post Kiss:

He looks like a child who asked you for chocolate after he's been a really good boy all day and you just said "no."

SIR, YOU ARE OVER 50 YEARS OLD! Maybe he needs to be reminded from time to time so he stops pulling these faces that absolutely kill my insides.

After having witnessed how many people were surprised by the "'Do It Again' Revelation"(TM), I wish I'd come and dumped all my thoughts on tumblr right after watching because, as an autistic person, I don't understand how you all are (rightfully) praising Michael's acting and then read his expression after the kiss as disgust? LOOK AT THIS BEBÉ HE WANTS HIS SCHOKIIII! The good kind, dark, bitter, rich, leaves a slightly weird taste and feel in the mouth.

He is so happy/unhappy because he wants that but he was saving it for when he could savour it because he is an old-fashioned romantic type and now it's spoilt. But also he can't help being happy he got it because it is affirming, it is a promise and reassurance. But also he can't have more of it now because he has to try and fix stupid heaven and the whole damn system so they can be safe once and for all. But also if he succeeds he can have more of that because Crowley is willing to give him his chocolate (I am just now remembering the planned scene of Crowley bringing Aziraphale chocolates to celebrate his bookshop opening oh Martel)! But also Aziraphale has to go to heaven alone because Crowley really doesn't want to be back there. But also Aziraphale could really use some help there, some mental and emotional support, someone who keeps bending over backwards to make things work for him.

HE WANTS HIS SCHOKI!

[marauderswolf22]

I wonder (you can SURELY find the info somewere im just lazy) how much time did they spend body swaped? AND what they could've done if the time was longer. imagine how much mocking at laughing at each other there would be??? but also how it could've broken some of their relationships barriers

but back to the mocking and laughing, i think they would do things like trying to differently style others (so their current bodies) hair (with the other being forious), or choosing an outfit in THEIR style but also stuff like, maybe aziraphale (as crowley, i know it's a bit confusing) would go out and just really exaggerate crowleys dramatism and the cool fassade? idk but it would be hilorious to see

[tumbld-out-of-my-bed]

I'm sorry, I don't think we're talking enough about the fact that Crowley actually reacts to a compliment about him being good with a smile

Like yes, he denies it, but also, he seems happy and doesn't immediately snarl and go, "I'M NOT NICE"

For me, it shows how now that he's cut off from Hell, he can actually own his good deeds and be proud of them openly, which makes me so happy :D

It also really makes you think. S2 clearly shows us that Crowley was never upset bt his good deeds. They were always a conscious decision. The only problem was Hell, and whatever they did to him after the whole business with Elspeth, he was afraid, but not angry about being good. Perhaps this fear does manifest as anger, but would that be to the point of aggression? Mm, what about that Wall Slam then? Is the "nice is a four letter word" kind of reaction was only for a certain Angel?

[itsscottiesstark]

Daily reminder that this blog loves Georgia Tennant and Anna Lundberg just as much as David Tennant and Michael Sheen and support their relationships to each other as much as the weird polyamory relationship they stumbled their way into so if you don't, please quietly see your way out.

[mwagneto]

does the wall shove thing from the ofmd ep 6&7 trailer give anyone else war flashbacks to getting the wall shove bit in the second gomens trailer or is it just me

[lookingforsomeoneto-foliadeux]

just right before this moment crowley offers him a ride in 3 different ways THREE different times

do you reckon he just meant the speed of the car or something something how crowley wants to take this bond to another level and aziraphale struggles with facing what that means🤏and yes I'm mentally ill to answer your question

[littlehollyleaf]

So are we talking about the Bible quote on the Gabriel!fly matchbox?

It's from Job - a nod to Crowley and Aziraphale's adventures with him no doubt

Specifically Job 41:19 "out of his mouth go burning lamps, and sparks of fire leap out"

So. Idk if this was once a common verse on matchboxes. I know there was a famous brand called LUCIFERS, as a play on the concept of 'light bringer' - cos matches bring light, yeah? Those had bible verses on I believe, but idk if it was this one. Even if not the same though, this Job verse does a similar thing to the Lucifer match brand - referencing sparks of fire cos that's what matches create (we're gonna circle back to this fyi, but there's other stuff first, hold on).

Now, obviously the box was used to contain the essence/identity of GABRIEL.

But it also acts as something of a visual representation of the very CONCEPT of an angel's essence/identity being something that can be removed and stored elsewhere. AND of the idea that the outside appearance of something (or someone) doesn't necessarily give an accurate/truthful indicator of what is inside - there are no matches in this matchbox, for instance.

The quote on the box also doesn't describe Gabriel. But that doesn't matter because, actually, Gabriel is never in the box is he? He takes the fly out before transferring his essence into it.

So. We have an empty box, representing the idea of angel essence/identity as removable from its... casing/packaging.

And this empty box describes something (someone?) from whom sparks of fire leap from.

If you look up the whole of Job 41, it turns out it's god describing what's referred to as a LEVIATHAN to Job.

Apparently there's speculation this refers to a crocodile. But a quick Google tells me various Bible annotations describe the creature as a GIANT SERPENT.

...a giant serpent

from whom fire leaps

and whose 'eyes are like the eyelids of the morning'

Hmm.

But the box is empty - the essence/identity/truth of this creature/being/person the outside is describing is not where the packaging suggests it should be.

...perhaps because, as with Gabriel, the essence/identity/truth of said creature has also been removed and stored somewhere else?

OR is it less literal than that? More of a metaphorical suggestion that the creature/angel/being Crowley is labelled as has never truly been HIM? The box is empty because who Crowley is does not fit in a box - he has, in fact, spent much of his existence trying to ESCAPE being put in a box, being labelled, ESPECIALLY by god/Heaven.

So, this little box has started to represent quite a lot now I think. The idea of angel essence/identity, but also maybe just identity in general? The idea of someone's identity not always matching their physical appearance. The idea of someone's identity being defined/limited by the descriptions/opinions/words of others. The idea of wanting and trying to escape the confines of an inaccurate and forced identity (give me coffee liberty or give me death).

Then, if that wasn't enough, on top of that we have that little added extra of matchboxes with bible verses infamously being known as Lucifers... (said I'd circle back!). Not as important as the rest I feel. BUT - if anyone wanted a little extra fuel for the 'Crowley as Lucifer' theory, this could fit... in a deeply symbolic, close reading, metafictional way?

In any case, what I'm getting at here is this box as reflecting the forced identities that Heaven/God persistently try to trap angels (and anyone really) into. And how it is possible to remove yourself from said box.

...am I taking this too far? Haven't tried any full on media analysis in such a long time...

This is the whole of Job 41 for reference (think there may be more in it relating to Crowley, and perhaps Aziraphale and their relationship too, plus GO!Heaven, that I'm overlooking):

Job.41

[1] Canst thou draw out leviathan with an hook? or his tongue with a cord which thou lettest down?

[2] Canst thou put an hook into his nose? or bore his jaw through with a thorn?

[3] Will he make many supplications unto thee? will he speak soft words unto thee?

[4] Will he make a covenant with thee? wilt thou take him for a servant for ever?

[5] Wilt thou play with him as with a bird? or wilt thou bind him for thy maidens?

[6] Shall the companions make a banquet of him? shall they part him among the merchants?

[7] Canst thou fill his skin with barbed iron? or his head with fish spears?

[8] Lay thine hand upon him, remember the battle, do no more.

[9] Behold, the hope of him is in vain: shall not one be cast down even at the sight of him?

[10] None is so fierce that dare stir him up: who then is able to stand before me?

[11] Who hath prevented me, that I should repay him? whatsoever is under the whole heaven is mine.

[12] I will not conceal his parts, nor his power, nor his comely proportion.

[13] Who can discover the face of his garment? or who can come to him with his double bridle?

[14] Who can open the doors of his face? his teeth are terrible round about.

[15] His scales are his pride, shut up together as with a close seal.

[16] One is so near to another, that no air can come between them.

[17] They are joined one to another, they stick together, that they cannot be sundered.

[18] By his neesings a light doth shine, and his eyes are like the eyelids of the morning.

[19] Out of his mouth go burning lamps, and sparks of fire leap out.

[20] Out of his nostrils goeth smoke, as out of a seething pot or caldron.

[21] His breath kindleth coals, and a flame goeth out of his mouth.

[22] In his neck remaineth strength, and sorrow is turned into joy before him.

[23] The flakes of his flesh are joined together: they are firm in themselves; they cannot be moved.

[24] His heart is as firm as a stone; yea, as hard as a piece of the nether millstone.

[25] When he raiseth up himself, the mighty are afraid: by reason of breakings they purify themselves.

[26] The sword of him that layeth at him cannot hold: the spear, the dart, nor the habergeon.

[27] He esteemeth iron as straw, and brass as rotten wood.

[28] The arrow cannot make him flee: slingstones are turned with him into stubble.

[29] Darts are counted as stubble: he laugheth at the shaking of a spear.

[30] Sharp stones are under him: he spreadeth sharp pointed things upon the mire.

[31] He maketh the deep to boil like a pot: he maketh the sea like a pot of ointment.

[32] He maketh a path to shine after him; one would think the deep to be hoary.

[33] Upon earth there is not his like, who is made without fear.

[34] He beholdeth all high things: he is a king over all the children of pride.