#i have a lot of feelings about aziraphale and how he loves

[vidavalor]

Hi @masnadies & friends! I don't really have a literal map, just an idea of where I think things are from what we've seen in S1 & S2. I love @mochacoffee's map & think that it makes sense that a ton of the space in the upstairs rotunda is shelves of books-- particularly, the bit visible from the main part of the shop downstairs-- but also that there are rooms up there, as we saw in S2. Aziraphale designed the shop as a space for him and Crowley so I think there's actually a lot of intentionality behind it. I've had some thoughts on this for awhile so I hope you all don't mind me sharing them here.

Some ideas on what rooms might exist and where they might be in the shop, how the threshold/invites work based on what we've seen, and what new room in the shop I would bet is going to be in The Finale. Also, what the story purpose in making the shop mysterious enough that we're having these conversations might be.

Design-wise, I think that the whole interior of the bookshop is built to look to any angels that might enter the front door like it's nothing but a bookshop that is a cover for the angelic embassy. Aziraphale only has the embassy so he can have the bookshop, which is really a cover for having as close to a house as Aziraphale had been able to manage while being a working angel. The way they are using the bookshop as a metaphor for Aziraphale (and for Crowley and Aziraphale) and its design tells us a lot about Aziraphale and his relationship with Crowley. What we have been allowed to glimpse of the bookshop-- and when, and in what order-- is very much intentional and part of both the design of the story and pf Aziraphale's design of the shop, imho.

In S1, the show uses the bookshop metaphor for Aziraphale by focusing more on Crowley's relationship with the bookshop than on Aziraphale's relationship with it. Each episode gives us more and more information regarding what level of access Crowley has to the shop that is symbolically Aziraphale as a way of slowly showing the audience the depth of the intimacy of his and Aziraphale's relationship.

In 1.01, we see Crowley feel safe for the first time in the episode when he and Aziraphale are in the bookshop. We see him on his couch, their familiar setup and being able to speak freely and have some privacy in the shop. Crowley's glasses come off for the first time in the minisode. It's the setting of the bookshop that helps to establish how close they are from the jump of the story. Each subsequent episode, though, begins to unfold that even more.

When the shop goes on fire, we find the doors will open for Crowley-- basically, that he has a key to Aziraphale's place. When Crowley goes back to the shop in Aziraphale's body during the body swap, we see him able to identify which books in the shop weren't there before Adam adjusted reality-- telling us that he spends so much time in the bookshop that he knows every detail of it. When he meets Aziraphale in the park afterwards, he tells Aziraphale that the bookshop is just as it was, with not a single smudge and everything in the same places that they always were.

While we just saw Crowley on the ground floor of the bookshop, this comment-- delivered while he's literally in Aziraphale's body, for fun symbolism-- is saying that Crowley has unfettered access to the entire bookshop and knows the whole place so well that he knows everything in it, everywhere, by heart, and could tell if anything was amiss in the shop. He knows his way around every room in the bookshop and has permission to go into any of them that he wants because they're basically his, too.

So... Crowley, while in the midst of the sexual metaphor that is the body swap, is seen telling Aziraphale that he went through their entire house and everything is fine, and this is not a conclusion that Crowley could have drawn without having gone into Aziraphale's bedroom-- and without being familiar enough with it to be able to tell if anything is amiss. This is the end of the steady progression of information about Crowley and the bookshop throughout S1 and it comes when they're in each other's bodies, ahead of the romantic Ritz finale.

In S2, we start to see a little more of the shop but what of it we see is reflective of the conflicts happening in the story, as it would be, right? First, we find out what's behind the door of the room behind Aziraphale's desk that remained closed in S1 and it's a subtle but potent reveal-- it's a room being used like a massive storage closet.

It's Aziraphale's actual backroom, not the office to which he brought Gabriel and Sandalphon in S1, which is built to be a place to which he can bring a visiting angel. This backroom is painted the color of Crowley's eyes and is a hodgepodge of random things that are being stored back here without a shred of the structure of the rest of the shop. While Aziraphale's bookshop is cluttered in a good way, that isn't what's happening in the backroom we see in S2. There's an open privacy screen in the corner that seems to be blocking off nothing. There's furniture and books just kind of pushed into the room-- random lamps. A chair just kinda stuck in there near the door. It's a storage unit, basically, and not a room that is in use, and it looks like it's holding things in limbo for a future that may or may not happen. It's stuff that belongs to he and Crowley that neither want to give away but that neither have room for in their lives at the moment. It's a total holding pattern of a room and Muriel bursting into it is literally the (literal) closet door being broken down by the supernatural cops, right?

In S1, the bookshop itself is essentially their closet but, as the supernatural characters like Gabriel and Muriel keep pushing further into the shop in S2, even as Crowley and Aziraphale wind up stopping hiding their relationship in S2, in the first half of it, we have this closet room representing them trying to try to find a space to talk openly in their own house during the chaotic week they're having.

Then, we see use of the home bar space in 1941 a bit, and this one is really interesting. While we saw this space in the present in S1 while Aziraphale was trying to figure out how to tell Gabriel about the antichrist kid mix up, now we see Crowley and Aziraphale using it and see that this table that Aziraphale keeps clutter on during the open hours is basically the dining room of the bookshop. It's positioned so that it's not in direct view from the front door of the bookshop-- just like how Crowley's couch is tucked away from immediate view of the door by the bookshelves.

If you look at the front of the shop-- everything between the front door and the cash register counter-- it actually does look like a little bookshop in its own right. The display tables and shelves and stacks of books along the wall. These are probably the books that Aziraphale can part with, if he absolutely must lol, and is really the only part of the shop that is truly the bookshop. Pretty much this bit below and the bookshelves where Crowley pulled the Jane Austen book that is on our right out of sight below:

Because the bookshop is metaphorically Aziraphale, I'm of the opinion that, technically, basically anyone can theoretically get through the front door. Humans are obviously kept away by locks and closed signs and restricted to business hours (whatever Aziraphale feels those are at any given moment lol.) The supernatural characters, though... The threshold, as Shax discovered in S2, is not actually the front door. Likely symbolic of how Aziraphale will give anyone a chance. The threshold is proven in both seasons to be the cash register counter-- the point at which what is meant to look entirely like a bookshop is really becoming Aziraphale's house, whether it seems that way to others or not. But, still, it means everyone can theoretically get into the entryway, right?

So, how do Crowley and Aziraphale have any privacy if the supernatural beings can all get through the front door?

Because they have found a way to exploit the angels and demons' dislikes of one another to get it.

Technically, the bookshop is an angelic space and an angel could demand entry to it and there's nothing Aziraphale could do but allow them to go wherever they wanted. This is the one weak spot because, while the demons won't want to deal with an angelic space and will just stay away, the angels are a different matter. Even if they cannot get past the cash register area without an invite, they need to believe like they have control over the space in order for Aziraphale to be able to keep it. So, why do the angels frequently turn up at the door asking to be let in, even if the vibes are very much that they feel it's sort of dumb that they have to ask and Aziraphale knows he has to say yes? Why don't they just go through the door?

Aziraphale out-psyched them, basically.

He told Heaven the truth-- the threshold to the shop is not the door but the cash register counter-- but he also told them that they were all going to make sure that the demons in Hell thinks the threshold is the front door. He told them that this is how they'll keep the embassy secure because, it being an embassy, they might have to allow a demon in during the daylight for spiritual counseling towards the light (the excuse for Crowley being seen sometimes entering the shop during business hours) but they can't just let a demon have unfettered access to a heavenly space-- that would be unseemly!

So, that's Aziraphale's argument for the threshold in the first place-- he needs control over the embassy space in order to protect it for Heaven and not just let these demons wander around in it unchecked. But he's made it so that Heaven thinks they're getting one over on Hell by making them think they're all in on the joke but that, for security purposes, they need to keep up the charade. They've all been told that they're supposed to go to the door for an invitation so that, if any demons are watching the place, they won't get suspicious that the door isn't really the threshold.

Crowley is keeping this going with the demons in S2, as well, when he leads Shax to think that the threshold is the door before she figures out he's lying during the bookshop attack. He also lies about his ability to invite people in, implying that only Aziraphale can, which we see later is untrue. Technically, anyone that Aziraphale has invited in can invite in other people behind them, which is how Maggie ended up inviting in all of the demons during the bookshop attack, and also why Crowley reminds Gabriel not to let anyone in when he rushes out of the shop after Shax while Aziraphale is in Edinburgh.

So, Aziraphale basically told Heaven that they all would know the truth, of course, that the threshold was the cash register but that they all wouldn't want the demons to find that out, right? That wouldn't be a very secure embassy. They need the demons to think that it's the same rules for everyone. Aziraphale's gotten them all to play along by making them go to the door and ask to be invited in, even though they could, technically, get in the front door and up to the cash register without an invitation. He's basically found a way to make them all ring the doorbell by exploiting their own prejudices against the demons.

This is shot now because, when Crowley and Aziraphale backed all the humans up into the living room, behind the cash wrap, Shax figured out that the door wasn't the threshold and tested her theory on poor Mr. Brown of Brown's World of Carpets, basically proving what we saw back in S1 when Gabriel and Sandalphon showed up.

They arrived when the shop was open and Aziraphale was busy inside with basically the only time in the series he has ever had customers lol and so there was no reason for Gabriel and Sandalphon to need to be invited in at the door because the shop was in normal business hours and it was Gabriel who was there. The rules of the other angels and demons wouldn't be seen as applying to him-- but they both did need an invitation to go any further than the cash wrap. Aziraphale brought them into his back office, which is a room he was willing to sacrifice to visiting angels as a way of seeming totally transparent and keeping them from wanting to search through the rest of the shop.

But, anyway, I think this is why the shop is built the way it is-- it's a house that is designed to pass as a bookshop so it can pass as an embassy-passing-as-a-bookshop, so that it can exist. Aziraphale has never really wanted to run a bookshop; he just wanted his books and a safer, home-like place he and Crowley could be together in. It's a bookshop just because Aziraphale has so many books and that made it the best cover for the fact that it's not really much of a shop at all-- just the front part of it is and Aziraphale has to fight to keep anyone from trying to buy any of the books that are in the other 95% of the shop, all of which are really his and/or Crowley's.

It's set up so that if the angels ever are just inside the front door before the cash wrap--or if they go only into the backroom where Aziraphale brings Gabriel and Sandalphon in S1-- that they're basically just seeing what looks like a bookshop. If they look up into the second-floor rotunda from near the door or most places on the ground floor, they just see a second floor of shelves of books that they can presume that Aziraphale is selling to the humans. It's not until we go up there with the characters in S2 that we see rooms exist up there... tucked out of sight from below. The further we press into the shop and the more we go around corners, the more we see that its design is intentionally attempting to hide what the real purpose of the bookshop is.

Aziraphale and Crowley cannot trust that there won't be some night when, idk, Sandalphon or Michael or somebody decides to just suddenly appear in the front part of the shop instead of knocking at the door. If they did, they wouldn't be able to physically go any further than the cash register counter-- but they could see into the shop from there. That seems factored into Aziraphale's design of the shop.

Aziraphale built it so that if he and Crowley were having dinner or wine at the table in the bar area like they were in 1941, Part 2 or if they were cuddled up on Crowley's couch, that they're around corners or otherwise obstructed from view enough that it gives them the opportunity to not get immediately caught should an angel blow past the established norms of entry and show up in the front part of the bookshop. The table in the home bar and Crowley's couch are both positioned so that a person cannot directly see them from the front door of the shop, which would buy them both time should someone show up in the shop. The place is built to make it so that no one can get past the cash register counter threshold and, even if they get past the door and into that space without Crowley or Aziraphale realizing it, they likely won't catch Crowley in the shop, no matter what time of day they show up.

So, the main floor bookshop space is visible to everyone but rooms that are more personal or that are hiding something from Heaven just by existing are buried a bit further into the shop or behind a door that has been right there the whole time but that the show is taking longer to open.

It wasn't until S2 that we saw into the private room in the back-- the closet, as the two of them were kind of trying to come out of it when it came to their relationship. It's also not until then that we get to go upstairs and, when we do, see that the spots that you cannot see directly from the door below have rooms. This is Aziraphale's private residence and even this? Is mostly set up to be able to deflect, should Heaven ever get up here. Have a real look at Gabriel's completely bizarre room here:

This is the unused bedroom of the bookshop, really-- not Aziraphale's actual one. It looks like a messy monk lives in here. One the size of a hobbit, apparently, because that bed could not get any smaller. This room exists basically in case Sandalphon ever shows up and demands a tour. Here's Aziraphale's room that he can claim he never really uses and just has for pretense or in case there's an emergency and someone needs to lie down. Nothing to see here, Stasi-a-Fond, just my tiny, dollhouse bed that I absolutely cannot fit in on my own, let alone with that six feet of legs demon! Jim's bedroom is as much of a closet as the back room downstairs is.

So, what lives down the little hallway on the ground floor, back out of sight? And, even better, what is the room at the top of the stairs to the left of Gabriel's bedroom? We were shown this door but it remained closed for all of S2. It is to S2 what the closed back room that we saw in S2 was to S1-- this door we saw a few times and then went into in the next bit of story.

Given its location in the shop-- conveniently at the top of the stairs and beside another bedroom-- it's likely that this is Aziraphale's bedroom. Unlike many, I think that Aziraphale does sleep. (I'm pretty sure Gabriel is wearing Aziraphale's pajamas in that "Jim's Mug" scene in S2.) Regardless of his sleep habits, though, he has other uses for a bedroom and I don't think it's collecting dust.

There are also some spaces in the vicinity of Jim's room that I think could be a bathroom, which Aziraphale could claim is necessary for customers, as you all have said above. Do his customers need the likely nice shower and that probable clawfoot tub? 😂 Not exactly, but Aziraphale likely would say fuck it and figure he'll come up with something if Heaven finds out. He can tell Michael he's baptizing people up there or something. I think that the lure of bath time with The Serpent is likely too strong to pass up.

We know there's a kitchen in there that Aziraphale was using for the literal portion of his baking in during Lockdown, which I think is probably what's located if you keep going past the private room and the home bar into that unseen space. See from where Aziraphale emerges in the bit below?

Nina, Maggie & Gabriel follow him into the room afterwards and they all seem to be coming from some place down the little corridor that leads further back into the shop. I'm pretty sure that's where the kitchen is. I think that's also the direction from which Aziraphale came when he brought Muriel tea in S2 as well. I'm sure it's very warm and cozy but I have a sneaking suspicion that it'd be a room we'd find surprising in its organization. It would be one of the rooms in the house that makes it pretty clear that Crowley spends a lot of time in the shop. I wouldn't be surprised if there are some-- gasp!-- plants in there-- potted culinary herbs, probably. He likes to cook for them sometimes.

I don't think it'd be super-necessary to show the kitchen but I actually think there's a chance we still might see it in The Finale largely because of the fact that I think we're going to flash back to the aftermath of Aziraphale blowing up his halo and briefly see some of what went down between then and the next morning-- namely, the convo with The Metatron that Aziraphale says the next morning took place, and the aftermath of that. If we go back to that night, we could see Aziraphale, Gabriel, Nina & Maggie talking in the kitchen. They also might cut that bit of it for the film but, either way, that's the area where it seems to me like the kitchen might be-- hidden pretty deep in the back of the shop, suggested to us but completely out of sight of Heaven.

If we consider that the bookshop is being rolled out to us slowly and in an intentionally incomplete way so far in support of a story that is doing the same... and if we then ask what big rooms remain that we haven't yet seen? There's really only the kitchen and Aziraphale's bedroom.

So, what haven't we seen in the bookshop yet ahead of The Finale?

The kitchen and Aziraphale's bedroom... food and sex. 😉 Not really terribly dissimilar things to these two...

It's been there all along but, as the story hits its end game, I think they'll likely reveal it a little more directly and, if they keep going with the way they've been using the bookshop to tell the story so far, they're going to use going into the previously unseen bedroom in the bookshop to do it. The one, new room we're getting for sure in The Finale is Aziraphale's bedroom-- likely circa 1941. It'll be clear that while it's the first time we're seeing it, it's a space with which Crowley is already plenty familiar.

Then, off to their South Downs Cottage where they can finally just have their own damn house without all of these shenanigans.

Speaking of the bookshop, theories on what could be upstairs?

ooooo the BIG QUESTION.

so we can see a bit of the second floor in all these pics:

basically all we know for sure is there are A LOT MORE BOOKS, both stacked around the railing and on the circle of shelves. neil has decided not to comment on what else might be there (YET 👀) but he’s confirmed that much.

apart from that, we can see from the outside that there are six windows on the second floor:

i’m going to assume they’re part of the shop because they’re Very On Fire when the rest of the shop is on fire. SO. taking all that into account, you end up with something like this:

where the thin grey circle is the railing and the brown one is the bookshelves (as you can see in the first pic, it doesn’t circle all the way around!)

the rest is a complete mystery. i mean i’m sure the actual set was empty because they didn’t need to fill it, but in theory there’s room for some interesting stuff! with the first floor for scale i can imagine a whole flat built around that circle of shelves — a bed aziraphale never sleeps in, comfy chairs, every other angel knick-knack he’s encountered in his life. in my personal headcanon it’s all books and hoarded items covered in dust, which he leaves for authenticity.

thank you for asking!! i’d love to hear other people’s thoughts if they want to share :)

[mimisempai]

Quiet place

Summary

Faced with a rain-soaked Crowley, Aziraphale acts like a mother hen, pampering his demon so well that the demon soon forgets how cold the rain was and feels only warmth.

Notes

Features a fire place and a lot of cuddles

On Ao3

Rating G -  1048 words

Crowley closed the door with a sigh and stood there in his soaked clothes, his hair dripping, not knowing what to do for a moment. 

To say he was surprised by the downpour would be an understatement. He'd gone to feed the ducks that nested near the small pond at the bottom of their garden, and just as he'd finished, the rain had suddenly come down, and the time it took him to get back to the cottage had been enough to leave him in this drenched state.

As he bent down to take off his shoes, he heard Aziraphale approaching.

He stood and found himself facing the angel, who was glaring up and down at him.

Crowley shrugged and said with a wry smile, "It's raining..."

Aziraphale, rolling his eyes, immediately helped Crowley off with his soaked jacket and grumbled, "This is no time for silly jokes. You'll get sick if you stay like this!"

When Crowley started to protest, Aziraphale added, "Yes, yes, I know, demons and angels don't get sick, but do you really want to tempt the devil? I know, bad choice of words. But anyway, what I mean is, we've been told we don't get sick, but who's really tested it, hm? So hurry up, get out of those wet clothes and take a hot shower..."

The angel pushed the demon toward the bathroom and Crowley chuckled, "You're quite the mother hen, Angel."

He turned to Aziraphale and quickly kissed him on the lips before saying, "Not that I mind, quite the opposite."

Aziraphale sighed.

"Crowley..." 

The demon raised his hands in surrender and headed for the bathroom.

"Okay, okay, I'll go..."

A few minutes later, he emerged from the shower and was welcomed into the arms of Aziraphale, who spread a large towel in front of him and helped him dry off before handing him warm, cozy clothes. Crowley, secretly happy to be the object of such attention, allowed himself to be pampered without resistance.

Then the angel led him into the living room, where Crowley saw that the fireplace was lit, radiating soft light and, more importantly, comforting warmth. Aziraphale made him sit on the sofa in front of the fireplace and sat down beside him. Crowley saw two steaming cups of tea on the coffee table.

He swallowed, overwhelmed with emotion at how cozy it looked. He thought he'd never get used to the feeling, but who could blame him when he and Aziraphale, despite their extended existences, had only just created this home together. 

He'd felt this way sometimes when he'd visited the bookshop, but it was always a time when they both lived under the pressure of Hell and Heaven, now, here, this was truly home. Smiling, he turned to Aziraphale, who had opened his arms for Crowley to snuggle into.

"Thanks for doing this for me, Angel."

"Not just for you, for both of us. I appreciate this kind of moment as much as you do. It's not just you who loves taking care of me." 

Aziraphale gave Crowley a kiss on the forehead before wrapping a blanket around them.

Crowley hummed with contentment and lifted his head to press a light kiss to the angel's chin. Aziraphale smiled as he handed him one of the cups, and after taking a sip, Crowley rested his head on Aziraphale's shoulder, his eyes drifting to the fire.

Together, in front of the fire, they talked about everything and nothing, the quiet conversation interrupted from time to time by kisses, caresses and laughter. The easy conversation of two people who have known each other for so long, but still have things to say to each other.

Then, seeing that the fire needed rekindling, Crowley started to get up, but Aziraphale held him back, saying quietly, "Stay here."

Astonished, the demon saw Aziraphale make a slight movement of his hand and the fire resumed its crackle and light.

Crowley looked falsely shocked and exclaimed, "Angel, how dare you? What about the human way?"

Aziraphale replied, "To hell with the human way, there is no way we are getting off this couch in the next few hours for something as trivial as rekindling the fire."

Crowley raised an eyebrow and said suggestively, "Oh...and what are we going to do on this couch for the next few hours?"

Instead of answering, Aziraphale leaned over him and traced a trail of kisses down Crowley's slender throat, leaving the demon moaning in pleasure. Aziraphale chuckled, then whispered in his lover's ear, "Does that answer your question?"

Aziraphale's hand slipped under Crowley's hoodie to feel his bare skin under his fingers, making Crowley shiver. The panting demon protested without much conviction, "Hey, Angel, what's the point of warming me up with a hot shower and a fire if you're just going to make me shiver afterwards?"

But the way he arched under the Angel's hands belied his words, so Aziraphale continued to run his fingers over the demon's skin, causing more shivers, and Crowley didn't even think about protesting anymore. 

Even less so when the angel's lips replaced his hands and began to map the demon's belly and chest, pulling up his hoodie.

Until Crowley could hold on no longer, and as Aziraphale's lips lingered on a small mole on the demon's hip, he removed the hoodie, tossed it to the floor, and, placing his hands on the back of the angel's neck, applied light pressure until Aziraphale brought his face close enough to capture his lips in a kiss whose heat had nothing to envy the fire in the fireplace.

And later, much later, as they lay, their naked bodies intertwined under the soft blanket, Crowley broke the silence and said softly, "I love you."

The warmth, the feel of his angel's arms around him, the breath in his hair, all of it wrapped him in a peaceful calm and he felt a gentle numbness wash over him.

"I love you."

The angel's voice in his hair was the last thing Crowley heard before he drifted off.

Aziraphale, feeling the demon fall asleep against him, raised his hand to rekindle the fire one last time, then, after planting a final kiss in the red hair, let himself be carried away by sleep as well.

_________

Still not beta'd

Still not my native language

Still hoping you'll enjoy this story  🥰

Still thanking you for bearing with me 😝

South Downs cottage series : here

Ineffable fan fictions Masterpost : here

[illuteridae]

love for humanity from an angelic perspective (unfinished pages under the cut)

[bullagit]

i think a not-insignificant amount of the heartbreak crowley’s feeling in the end is  because he’s finally truly understanding that what’s happening with aziraphale (as he perceives it) isn’t something that he can save him from.

[hyperfixating-rn-brb]

The Good Omens Fandom has had a lot of fun recently with the knowledge of Aziraphale and Crowley holding hands on the bus at the end of season 1.

Soo here's everything that went through my head as I learned of it for the first time.

For that entire scene, Aziraphale is really far gone. He's dissociating so hard he can't even realize he's been sitting on a sword. Crowley is probably the only thing keeping him grounded.

They just narrowly stopped Armageddon after a showdown with literally Satan, and still can't let their guard down. For the first time ever, they're completely on their own side. Now they have to orchestrate a body swap to save both of them. They wouldn't just be killed, they'd be completely destroyed. Everything must go exactly according to plan, but how often does that actually happen?

And on top of that, his bookshop, his home, his safe place with the demon he has to pretend not to love is burned and gone.

Crowley is so incredibly gentle and reassuring this entire scene. He's been through so much trauma himself and has spent a lot of his existence shielding the angel from it, hoping to protect some of his innocence and naivete. Crowley is absolutely familiar with every symptom of PTSD and anxiety.

Now he has to see his sweet angel see such a small bit of the horrors of heaven and hell and start to crumble inside. He's going to do his dam best to try and help Aziraphale through it. Speaking softly, ("the bookshop burned down... remember?) slowly and carefully, gradually helping to pull the angel back to reality, reminding him that he's there and will help ground him.

They get on the bus, and sit next to each other. 11 years ago, they sat nearby but separated while Crowley begs Aziraphale to help him prevent the Apocalypse. Now they are sitting together. Both an act of reassurance and unity.

Crowley sits first, Aziraphale could so easily just sit across from him, behind or in front. But he chooses to sit right next to him. And hold his hand. Aziraphale desperately needs to be near to the *former* demon he loves, to hold him, to make sure they won't be separated.

In the book, their famous lines of "none of this would have worked out if you weren't, deep down, just a bit of a good person" and "just enough of a b*stard to be worth liking" came as Satan rose from the earth, as a goodbye in case they were destroyed.

Luckily, that didn't happen and they survived. Armaggedon was stopped. But the angel is still so anxious of losing Crowley. So he chooses to reach out, to anchor himself and reassure himself that Crowley is still there beside him and that they are okay, at least for a few minutes.

And Crowley let him. He knows how badly Aziraphale needs him, he needs the angel just as much. He knows how badly he craved an anchor and support system as he was first abused and traumatized by his Fall, then further by Hell. So he's going to continue being there for Aziraphale, doing everything he can to make his angel feel safe and comfortable.

Over the next few years, Aziraphale would become so much more comfortable reaching out and touching Crowley. Leaning into him, resting a hand on his shoulder or briefly touching his chest. Somehow both reassuring himself that the former demon was still there, and reminding Crowley that he's still there for him at the same time.

Then Crowley becomes more comfortable with the touch, leaning into the angel by himself. No longer flinching at a sudden graze of a hand or reassuring squeeze.

That one moment of the two holding hands on the bus cemented so much of their relationship. "The last few years, not really..." all started on that bus the moment Aziraphale chose to sit down next to Crowley.

edited: at first this said "new knowledge" because I just found out about this all the other day, and wrote this up at 3 AM, and didn't really fact check when this knowledge became well known. I've only really been a GO fan since maybe 2021, and only really started being active in the fandom during the last few months, so a lot of info that is fairly well known is still generally new to me. soo yeah this was edited :)

source for anyone asking for it!

[denimbex1986]

'...“It’s fun playing bad, but actually he’s not,” the actor says, smiling as he reflects on his character, Crowley. “He’s a villain with a heart. The amount of really evil things he does are vanishingly small.”

...As it always has, “Good Omens” dissects the view of good and evil as absolutes, showing viewers that they are not as separate as we were led to believe growing up. Aziraphale and Crowley’s long-standing union is proof of this. The show also urges people to look at what defines our own humanity. For Tennant — who opted to wear a T-shirt emblazoned with the words “Leave trans kids alone you absolute freaks” during a photocall for Season 2 — these themes are more important now than ever before.

“In this society that we’re currently living in, where polarization seems ever more present, fierce and difficult to navigate. Negotiation feels like a dirty word at times,” he says, earnestly. “This is a show about negotiation. Two extremes finding common ground and making their world a better place through it. Making life easier, kinder and better. If that’s the sort of super objective of the show, then I can’t think of anything more timely, relevant or apt for the rather fractious times we’re living in.”

“Good Omens” is back by popular demand for another season. How does it feel?

It’s lovely. Whenever you send something out into the world, you never quite know how it will land. Especially with this, because it was this beloved book that existed, and that creates an extra tension that you might break some dreams. But it really exploded. I guess we were helped by the fact that we had Neil Gaiman with us, so you couldn’t really quibble too much with the decisions that were being made. The reception was, and continues to be, overwhelming.

Now that you’re no longer bound by the original material that people did, perhaps, feel a sense of ownership over, does the new content for Season 2 come with a sense of freedom for you? This is uncharted territory, of sorts.

That’s an interesting point. I didn’t know the book when I got the script. It was only after that I discovered the worlds of passion that this book had incited. Because I came to it that way, perhaps it was easier. I found liberation from that, to an extent. For me, it was always a character that existed in a script. At first, I didn’t have that extra baggage of expectation, but I acquired it in the run-up to Season 1 being released… the sense that suddenly we were carrying a ming vase across a minefield.

In Season 2, we still have Neil and we also have some of the ideas that he and Terry had discussed. During the filming of the first one, Neil would drop little hints about the notions they had for a prospective sequel, the title of which would have been “668: The Neighbour of the Beast,” which is a pretty solid gag to base a book around. Indeed there were elements like Gabriel and the Angels, who don’t feature in the book, that were going to feature in a sequel. They were brought forward into Season 1. So, even in the new episodes, we’re not entirely leaving behind the Terry Pratchett-ness of it all.

It’s great to see yourself and Michael Sheen reunited on screen as these characters. Fans will have also watched you pair up for Season 3 of “Staged.” You’re quite the dynamic duo. What do you think is the magic ingredient that makes the two of you such a good match?

It’s a slightly alchemical thing. We knew each other in passing before, but not well. We were in a film together [“Bright Young Things,” 1993] but we’d never shared a scene. It was a bit of a roll of the dice when we turned up at the read-through for “Good Omens.” I think a lot comes from the writing, as we were both given some pretty juicy material to work with. Those characters are beloved for a reason because there’s something magical about them and the way they complete each other. Also, I think we’re quite similar actors in the way we like to work and how we bounce off each other.

Does the shorthand and trust the two of you have built up now enable you to take more risks on-screen?

Yes, probably. I suppose the more you know someone, the more you trust someone. You don’t have to worry about how an idea might be received and you can help each other out with a more honest opinion than might be the case if you were, you know, dancing around each other’s nervous egos. Enjoying being in someone’s orbit and company is a positive experience. It makes going to work feel pleasant, productive, and creative. The more creative you can be, the better the work is. I don’t think it’s necessarily a given that an off-screen relationship will feed into an on-screen one in a positive or negative way. You can play some very intimate moments with someone you barely know. Acting is a peculiar little contract, in that respect. But it’s disproportionately pleasurable going to work when it’s with a mate.

Fans have long discussed the nature of Crowley and Aziraphale’s relationship. In Season 2, we see several of the characters debate whether the two are an item, prompting them to look at their union and decipher what it is. How would you describe their relationship?

They are utterly co-dependent. There’s no one else having the experience that they are having and they’ve only got each other to empathize with. It’s a very specific set of circumstances they’ve been dealt. In this season, we see them way back at the creation of everything. They’ve known each other a long time and they’ve had to rely on each other more and more. They can’t really exist one without the other and are bound together through eternity. Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms, I think that’s fair to say.

Yet fans are trying to do just that. Do you view it as beyond romantic or any other labels, in the sense that it’s an eternal force?

It’s lovely [that fans discuss it] but you think, be careful what you wish for. If you’re willing for a relationship to go in a certain way or for characters to end up in some sort of utopian future, then the story is over. Remember what happened to “Moonlighting,” that’s all I’m saying! [Laughs]

Your father-in-law, Peter Davison, and your son, Ty Tennant, play biblical father-and-son duo Job and Ennon in Episode 2. In a Tumblr Q&A, Neil Gaiman said that he didn’t know who Ty’s family was when he cast him. When did you become aware that Ty had auditioned?

I don’t know how that happened. I do a bunch of self-tapes with Ty, but I don’t think I did this one with him because I was out of town filming “Good Omens.” He certainly wasn’t cast before we started shooting. There were two moments during filming where Neil bowled up to me and said, “Guess, who we’ve cast?” Ty definitely auditioned and, as I understand it, they would tell me, he was the best. I certainly imagine he could only possibly have been the best person for the job. He is really good in it, so I don’t doubt that’s true. And then my father-in-law showed up, as well, which was another delicious treat. In the same episode and the same family! It was pretty weird. I have worked with both of them on other projects, but never altogether.

There’s a “Doctor Who” cameo, of sorts, in Episode 5, when Aziraphale uses a rare annual about the series as a bartering tool. In reality, you’ll be reprising your Time Lord role on screen later this year in three special episodes to mark the 60th anniversary. Did you always feel you’d return to “Doctor Who” at some point?

There’s a precedent for people who have been in the series to return for a multi-doctor show, which is lovely. I did it myself for the 50th anniversary in 2013, and I had a wonderful time with Matt [Smith]. Then, to have John Hurt with us, as well, was a little treat. But I certainly would never have imagined that I’d be back in “Doctor Who” full-time, as it were, and sort of back doing the same job I did all those years ago. It was like being given this delightful, surprise present. Russell T Davies was back as showrunner, Catherine Tate [former on-screen companion] was back, and it was sort of like the last decade and a half hadn’t happened.

Going forward, Ncuti Gatwa will be taking over as the new Doctor. Have you given him any advice while passing the baton?

Oh God, what a force of nature. I’ve caught a little bit of him at work and it’s pretty exciting. I mean, what advice would you give someone? You can see Ncuti has so much talent and energy. He’s so inspired and charismatic. The thing about something like this is: it’s the peripherals, it’s not the job. It’s the other stuff that comes with it, that I didn’t see coming. It’s a show that has so much focus and enthusiasm on it. It’s not like Ncuti hasn’t been in a massive Netflix series [“Sex Education,”] but “Doctor Who” is on a slightly different level. It’s cross-generational, international, and has so much history, that it feels like it belongs to everyone.

To be at the center of the show is wonderful and humbling, but also a bit overwhelming and terrifying. It doesn’t come without some difficulties, such as the immediate loss of anonymity. It takes a bit of getting used to if that’s not been your life up to that point. I was very lucky that when I joined, Billie Piper [who portrayed on-screen companion, Rose] was still there. She’d lived in a glare of publicity since she was 14, so she was a great guide for how to live life under that kind of scrutiny. I owe a degree of sanity to Billie.

Your characters are revered by a few different fandoms. Sci-fi fandoms are especially passionate and loyal. What is it like being on the end of that? I imagine it’s a lot to hold.

Yes, certainly. Having been a fan of “Doctor Who” since I was a tiny kid, you’re aware of how much it means because you’re aware of how much it meant to you. My now father-in-law [who portrayed Doctor Who in the 80s] is someone I used to draw in comic strips when I was a kid. That’s quite peculiar! It’s a difficult balance because on one end, you have to protect your own space, and there aren’t really any lessons in that. That does take a bit of trial and error, to an extent, and it’s something that you’re sometimes having to do quite publicly. But, it is an honor and a privilege, without a doubt. As you’ve said, it means so much to people and you want to be worthy of that. You have to acknowledge that and be careful with it. Some days that’s tough, if you’re not in the mood.

I know you’re returning to the stage later this year to portray Macbeth. You’ve previously voiced the role for BBC Sounds, but how are you feeling about taking on the character in the theater?

I’m really excited about it. It’s been a while since I’ve done Shakespeare. It’s very thrilling but equally — and this analogy probably doesn’t stretch — it’s like when someone prepares for an Olympic event. It does feel like a bit of a mountain and, yeah, you’re daring to set yourself up against some fairly worthy competition from down the years. That’s both the challenge and the horror of doing these types of things. We’ve got a great director, Max Webster, who recently did “Life of Pi.” He’s full of big ideas. It’s going to be exciting, thrilling, and a little bit scary. I’m just going to take a deep breath.

Before we part ways, let’s discuss the future of “Good Omens.” Gaiman has said that he already has ideas for Season 3, should it happen. If you were to do another season, is there anyone in particular you’d love to work with next time around or anything specific you’d like to see happen for Crowley?

Oh, Neil Gaiman knows exactly where he wants to take it. If you’re working with people like Gaiman, I wouldn’t try to tamper with that creative void. Were he to ask my opinion, that would be a different thing, but I can’t imagine he would. He’s known these characters longer than me and what’s interesting is what he does with them. That’s the bit that I’m desperate to know. I do know where Crowley might end up next, but it would be very wrong if I told you.

[At this point, Tennant picks up a pencil and starts writing on a hotel pad of paper.]

I thought you were going to write it down for me then. Perhaps like a clandestine meeting on a bench in St James’ Park, but instead you’d write the information down and slide it across the table…

I should have done! I was drawing a line, which obviously, psychologically, I was thinking, “Say no more. You’re too tempted to reveal a secret!” It was my subconscious going “Shut the fuck up!”

[vidavalor]

Thanks for reading, @simonezitrone79 💕 If, by a mask, you mean that you think Aziraphale is faking something because he has a plan, we'll have to see what happens but I am afraid that I disagree. I mean, in the long run, Aziraphale has chosen wisely because he has chosen Crowley and good people overall, but people can sometimes make the wrong choices in the moment for the right reasons and I think that's what is happening in The Final 15.

Aziraphale is lovely and smart and a good judge of character but everyone has blind spots and those blind spots are usually driven by past trauma. I think that's kind of a lot of what's happening in S2, as it also is in Crowley's story and his self-doubt causing him to trust only Beez's take on The Book of Life and to not be able to fully see the big picture with Gabriel for most of S2. I do not think that Aziraphale has a secret plan in the elevator. I think we see the ups and downs of this stuff a bit in S2-- 1941, Part 2 is a story of having a win but The Final 15 is one of a loss.

It's only a loss because both Crowley and Aziraphale are having trouble talking about their frozen peas when they are usually better at such things. As such, they both fall victim to their own blindspots and can't see or hear one enough to recognize what's really happening and help each other through the way they usually do.

Aziraphale's blind spot is that he'll sometimes trust the wrong person for the right reasons. He is only really prone to being able to be manipulated-- and to manipulating himself-- when the situation is around a part of Aziraphale's life where he feels that he's not good enough. He is good enough but he doesn't let himself believe that.

He once wound up held at gunpoint in a church by Nazis to whom he had given several of his most beloved, priceless books out of a sense that he wasn't doing enough to help the Allied Forces win the war. It's that 1941 scene that The Final 15 is mirroring in a lot of places and I think it's for similar reasons that Aziraphale goes with who he believes is The Metatron.

It's not for the world this time, the way it was with Rose/Greta in 1941-- it's for Crowley. Aziraphale was a hard pass on going to Heaven until he was tempted with the idea of eternal safety for Crowley. It's not a genuine offer-- it would collapse Heaven & Hell if even one demon were to be restored as an angel-- but it's an offer Aziraphale feels he can't refuse because to do so would be to reject something that he thinks could keep Crowley safe.

He's taken the wrong path with this because he is letting their abusers dictate the parameters of their life but it's understandable how he got to this point. It's not easy watching someone suffer for years upon years the way he has with Crowley. He wants to be able to offer Crowley the safety and peace that he doesn't think he can give him, even as Crowley is trying to tell him that the only safety and peace he knows is with Aziraphale and that's all he needs. It's Aziraphale not allowing himself to accept that he is good enough as he is and it will, quite literally, be the death of him. That's the "going to Heaven" and going into the light of the elevator to me-- it's a fall, it's a death.

Gabriel could have gone all the way down this path himself but he didn't to have a contrasting story to Aziraphale. Gabriel's issues are, at the core, the same as Aziraphale's. They are both excessively self-sacrificing and struggle with being told that they exist to serve God and others and so are not to claim any resources for themselves. They are supposed to be above all of it and they both know that's bullshit but they've been stuck trying to figure out a path forward. It's not a matter of access to resources as to which one of them survived it in S2 because they both found what they needed.

It's a matter of who shut people out and who let people in.

People can go up and down with this. Gabriel spent thousands of years too afraid to trust-- and for understandable reasons, considering the culture of Heaven. It's only when he is open with trusted friends who see him as a person that he starts to heal. Aziraphale is often open with Crowley and that has saved him for a long time. One of the loveliest moments in the series is an example of that in 1941, Part 2, when Aziraphale expresses his hesitation to go to Goldstone's-- to do the human things he loves and wants to do. Aziraphale has been doing those things for thousands of years but he still has conflict over them. Crowley recognizes that struggle in Aziraphale and he was able to help him in 1941 because Aziraphale let him. In the present of S2, though? The opposite is happening.

In the present of S2, Aziraphale ultimately shuts Crowley out. It's not just Crowley he shuts out-- Aziraphale also ignores any lessons he could be taking from Gabriel and Beez. He does so because he's blinded by his negative self-thoughts-- the darkness/demons have overrun his bookshop. It doesn't mean it's permanent but I think that's the plot more than that it is that he gets into the elevator with a plan. His smile over the closing credits is a miserable kind of madness. Is he ultimately going to help burn it all down? Oh, yeah. But, in the short term, he's completely fucked.

The angel with the huge heart that helps everyone else seems too lovely to fall but he is falling because, while he's the first person to help others in need, he goes through periods where he doesn't acknowledge that he's a person in his own right as well. He thinks he should be above being a person but he also knows he is one. Some days, he can fight it and some days, he loses the battle. It is kind of the ultimate in human stories, eh?

All of Bedford Falls is going to need to save George Bailey here.

Playing with Fire

Armageddon: The end of the world.

World: The Earth. Also: a person's own universe-- the life of an individual and the people they let into that life.

With that in mind...

Armageddon: The destruction of Earth and the deaths of all living beings inhabiting it. Also: a person's mental health crisis.

"When alle is fayed and all is done, ye must choose your faces wisely for soon enouff, ye will be playing with fyre." -Agnes Nutter's final prophecy of Armageddon and a big theme of the story in a nutshell.

Faces: The front portion of the head of a human or an animal.

Also: to confront and deal with a difficult or unpleasant task or situation.

Also: the front of a building, including its front door.

Agnes Nutter's prophecy is not just about the destruction of Earth but about the everyday Armageddon of people's lives. Soon enough, we all will eventually find ourselves playing with fire-- in dark times and in the danger zone of falling. We all wind up there at some point and we need help either staving off a fall or getting back up from one.

The only way out of that is to choose our faces wisely. It's to choose to trust the people who show us they are worthy of that trust and to let them in enough to help with safety and support.

It's to form a mutual aid association and face the world together as a group. That's the only way to move through the dark stuff to keep it from getting you-- to go as one, together.

In S2, Gabriel survives by doing exactly this to the letter, even though he doesn't know Agnes' prophecy. He is the positive example of this theme in action.

Gabriel chooses his faces wisely. He is unconcerned with how a person is labeled or judged by others and, so, trusts two demons in Crowley and Beez to help him, and enjoys joining the human world as a bookseller. He puts his fate in the hands of Aziraphale, the only angel he has seen with the good heart and moral character to be fully trustworthy.

He isn't bothered or intimidated by Beez's change of face because he can recognize them enough to know they are who they say they are and outward appearance matters little to the guy who is, ironically, also sometimes the vainest person on the show.

He picks a person in Beez to trust with all of himself who has proven with their actions that they are worthy of that trust. This is the wisest of choices as it's evident Ineffable Bureaucracy were made for each other.

Without opening up and trusting Beez, Gabriel would not have had the means to survive his fall without losing himself entirely. Trusting them is the wisest choice of a face that Gabriel has made.

He then is ready to face his issues with Heaven and its role in all definitions of Armageddon. He rejects the, well, literal face that is The Metatron...

...and goes to the face of the building where he knows he'll be safe...

...because he knows he can trust the faces of the couple who lives there to let him in and help him.

As such, Gabriel survives his personal Armageddon. He falls and he's struggling but he is saved from forms of death by Beez, Crowley and Aziraphale, finds a new way forward, and rendered literally immune to darkness as a result.

Gabriel went down in S2... both figuratively and literally... a mental health crisis and cast down from his position at the top of Heaven and down in the lift to Earth as he ran for his life... but he's saved from the fall leading all the way to death by virtue of the fact that he chose his faces wisely. Beez, Crowley and Aziraphale helped him find his way through and join The Whickber Street Shopkeepers and Traders Association and now Jim has people.

Not only does this help Gabriel but it's going to help others as well because now that Jim is on the mend, he can be there for them and others as well.

But what about the one whose story Gabriel is paralleling in S2?

What about Aziraphale? Did he remember in S2 what Agnes told him?

He did not.

In S2, for the most part, Aziraphale was pushing away the people and things he needed to survive a personal Armageddon and, as of the end of S2, is playing with some serious, serious fire.

In The Final 15, Aziraphale chose an untrustworthy being wearing the very same face that Gabriel had wisely finally rejected...

...over quite literally a lot of face of the person he trusts more than anyone else...

...he chose the elevator door face ("going to Heaven"/death) over that of his own bookshop (life)...

He was offered the chance to become the new Gabriel and that is likely more true in the S2 falling Gabriel sense of things than it is in terms of the job offer being real. In his effort to take care of everyone, Aziraphale didn't let in the people around him to help him, too. He didn't see himself as a person in his own right. He made the fatal mistake against which Agnes cautioned and which Gabriel avoided.

That said... everyone goes down. It's just gravity. Everyone wants to live and they'll eventually fall trying. No one asks for death. They all ask for coffee.

But those that manage to survive can find wings can fly and go back up together.

Insects, birds...

The flies. The nightingales...

Did you give wings to peacocks, Job? The communication metaphor of feeding the ducks frozen peas:

Or teach the ostrich to run? The ostrich who ran:

And when you feed your ducks your frozen peas and make your own history, you're living life together.

Everyday/it's a getting closer/going faster than a rollercoaster...

A rollercoaster goes in a bendy loop. It goes up, it goes down, it goes upside down and right side up again and sideways and every which way, and when, all is said and done, it drops you off back off in what looks like the same place you began... but the experience has left you a changed person. This is life.

Life is a series of loops on the rollercoaster track. You can go up and you can down and it doesn't matter because it's all the same track and your position, so long as you are alive, isn't fixed but forever in motion.

If you choose your faces wisely like Gabriel did, they can help you stay alive, get back on the rollercoaster, and take the ride with you. If you shut out those who are there, you might never get back on. If you don't, as the song suggests, love will surely never come your way.

But what if you're like Aziraphale and you have chosen your faces wisely but then, unwisely, pulled away from them? What if you push people away when you're struggling and are only going so high up because the track has run out and you're about to take a massive plunge down? Is it really all over for him?

Yes and no. Yes, because a fall is a death of sorts and there is no going back. Aspects of it will forever be a part of him... but, also, no, because while he might have chosen his faces, for very sympathetic reasons, ultra-poorly in The Final 15, he has chosen them very well before. As such, Aziraphale has people around him, like Crowley and The Lords of the Flies, that will help him back up-- as well as some people he might not yet even realize are in his corner.

To save Aziraphale from the effects of Aziraphale's own, personal armageddon, they're going to have to come together to change Heaven and, in doing so, they will stop the destruction-of-Earth kind of Armageddon in the process. In choosing the faces of one another over the floating head's face, they'll save their individual worlds and the Earth as a whole, giving everyone a chance to live their lives as they see fit.

Save the angel, save the world.

A-hey? A-hey-hey. 😇

[seven-stars-in-his-palm]

analyzing some images (for fun)

so i found this pair of promotion images for good omens season 1 on the good omens reference library server and it’s hooked me so so bad im having feelings about it. we’re analyzing them now. not really for meta purposes just fun to see the parallels and differences :)

everything under the cut !

unique traits

aziraphale:

1) his plank background. its older, its crisp, it smells like wood from the screen. mmmm

2) the pencil shavings at the bottom. he does a lot of writing honestly, so i like this. also adds a messy and cozy vibe he always seems to have in that shop…. i like that blessed shop fr

3) his SUSHI. little soy sauce drops near it too—just the right amount of deliberate mess. our first formal introduction to aziraphale in the present day and beginning the Tomfoolery just happens to have sushi... i watch that scene and i go “yeah, that sums up aziraphale i suppose” very nicely. (they dont have sushi Up There) (im literally never gonna forget that)

4) the ray of light shining on the scene. tiny thing, but a bit of the heaven is peeking through..it also sort of blurs the whole image but i think thats just me.

5) and we’ve saved the best for last: the big whopper. the nice and accurate prophecies of agnes nutter, witch. I LOVE THAT BOOK!!!!!!! i cant remember if that ring stain was there but if it isnt in the show on the actual book i’d assume thats to add that ‘thy cocoa doth grow cold’ thing. ALSO. you know what’s being used as a bookmark in the pages?? a check for the ritz. he bookmarked their one chance for living . with a ritz check . MMMMMM. my GOD. that means so much to me even if i cant convey it in words. he KEEPS THE CHECKS 😭😭😭😭😭😭

crowley:

1) let me get my favorite out of the way. crowley’s glasses have fire in their reflection. we’ll talk about the glasses themselves later but the REFLECTION IN THEM. fucking FIRE, BOOKSHOP fire, PAIN, SRIVING THROUGH THE M-25, HELL, I DONT KNOWIM HAVING FEELINGS!!! i do believe this is a bookshop fire reference though, the flames feel too Familiar. the lengths people will go to to attack others 🤧

2) the leather seat background!!!!!!! probably meant to look similar to the bentley’s seats but i cant recall their texture, exactly. maybe just meant to convey modernness—unsure. still, its there <3

3) the tiny little crisp plant </3 its trying his damned best to stay perfect. it might a specific plant that means something, but i cant tell at thsi angle, so i’ll assume its a mini version of the ficus he keeps in the flat. its so SMALL and sitting in ANOTHER POT i CANT

4) the snake slithering!! black and red (in this image it looks orange lol) bellied scales!!!! slithering there, chilling, being crowley, showing hints. love it

5) QUEEN RECORD!!!!! TRYING TO OVERRIDE IT WITH TCHAIKOVSKY!!!!!! the tape over it does a reminisence to crowley’s handwriting, but in a clean ‘this made made to be a font’ way. not exactly just yet. ive become a fan of tchaikovsky recently. amazing darling wonderful crowley, trying to push the rock up the hill for eternity 😞

6) HIS LITTLE DEMON KEY THING. HOLDING A TINY LITTLE BENTLEY CAR KEY OHHH. thats how he doesnt lose the tiny key despite probably not needing one of those. and he CHOSE that intentionally probably. little wings and red circle….URGHHHHHHH

similarities

mmmmm now here’s the good shit. similarities! i’ll bullet point most of them but ohhhhh. ohhhh these. i’ll go from top to bottom as best i can….

1) one of their shoes, obviously. crowley has them iconic snakeskin shoes while aziraphale has his old loafers like the old loafer he is /pos

2) chateauneuf de pape wine bottle labels! (crowley’s is under his glasses, aziraphale’s is next to his shoe). oh my fucking god theyre MATCHING. the labels are old, battered, of course labeling the drink’s age, but mmmmm its these tiny details that get me going….

3) their respective drinks in their mugs—crowley’s a black mug coffee (or what looks to be coffee) and aziraphale’s angel mug tea (or what looks to be tea). i think about that mug sometimes. where did he get that from?? mystery for the ages….

4) their glasses, of course. crowley’s iconic sunglasses and aziraphale’s reading spectacles. i cant really tell the reflections in this pair, but if its supposed to be fucking fire, im done with this. im giving up forever

5) their own watches! aziraphale’s is visibily older while crowley’s is visibly modern, but they function just the same. also, crowley’s is set to 2:56:59 (presumably PM), which is around the time we see when crowley starts checking his watch at warlock’s birthday party. its almost time for disaster to strike!! 😃

6) and finally….their ties!! they have their own ties!!! or more accurately, neck accessories, but i digress. i mesn i assume its crowley’s neck tie, because the fabric looks… different. either way, crowley’s neck thingie is very whispy and aziraphale has his funky little bowtie i love so much,,,

okay thats it. there’s no canonical implications, any fantheories, none of the sort. just saw a pair of images and my mind went GOD DAMN!!!!!! theyre very important to me. i need to look at more promo material 😔

[ingravinoveritas]

Lovely new article about Michael in Paste magazine. Article is behind a paywall, so here is a transcription (with thanks to the person on FB who transcribed it, and the parts in bold are my own emphasis).

There’s so much to love about Prime Video’s Good Omens. A delightful adaptation of the popular Neil Gaiman and Terry Pratchett novel of the same name, the series is romantic, thoughtful, hilarious, and heartfelt by turns. The story of the almost-apocalypse and what comes afterward, it wrestles with big concepts like destiny, free will, and forgiveness, all framed through the lens of an unorthodox relationship between an angel and a demon whose love for one another is a key to saving the world.

As anyone who has watched Good Omens already knows, nothing about this series works without the pair of lead performances at its center. Stars David Tennant and Michael Sheen—who play the demon Crowley and the angel Aziraphale, respectively—have the kind of lighting-in-a-bottle chemistry that’s the stuff of legend, and their characters’ every interaction conveys both their deep affection for one another and the Earth they’ve made their home. Their romance is the emotional linchpin around which most of the series turns, and their heartbreaking separation in the Season 2 finale is so devastating precisely because we’ve seen how necessary the two are to each other’s lives.

But it’s Sheen’s performance in that final scene that really twists the knife. As Aziraphale’s face crumples following his and Crowley’s long-awaited kiss, the actor manages to convey what feels like every possible human emotion in the span of less than thirty seconds as the angel realizes what he has both had and just lost. The moment is emotionally brutal to watch, particularly after sitting through five and a half episodes of Aziraphale looking as lovestruck as the lead in any rom-com. Sheen makes it all look effortless, shifting from giddy joy to devastated longing and everything in between, and we really don’t talk enough about how powerful and underrated his work in this series truly is.

Though he’s half of the central duo that makes Good Omens tick, Sheen’s role often tends to get overshadowed by his co-star’s. It’s not difficult to see why, given that Tennant gets to spend most of the show swanning around in tight trousers looking like the Platonic ideal of the charming bad boy, complete with flaming red hair and dramatic eyewear. Tennant also benefits from Crowley’s much more sympathetic emotional arc. I mean, it’s hard not to love a cynical demon with a heart of gold who’s been pining after his angelic best friend for literal millennia even after being cast out from Heaven. Of course, viewers are drawn to that—likely a lot more easily than the story of an angel who’s simply trying the best he can to do the right thing as he wrestles with his role in God’s Ineffable Plan. Plus, let’s be real, Tennant’s sizeable Doctor Who fanbase certainly doesn’t hurt his character’s popularity.

As a performer, Sheen has a long history of playing both real people (Tony Blair, David Frost, Brian Clough) and offbeat villains (Prodigal Son’s Martin Whitly, Underworld’s Lucian, the Twilight Saga’s Aro). In some ways, the role of a fussy, bookish angel is playing more than a bit against type for him—Gaiman himself has said he originally intended for Sheen to be Crowley—but in his capable hands, Aziraphale becomes something much more than a simple avatar for the forces of Good (or even of God, for that matter). With a soft demeanor and a positively blinding smile, Sheen’s take on the character consistently radiates warmth and goodness, even as it contains surprisingly hidden depths. The former guardian of the Eastern Gate of Eden who gifted a fleeing Adam and Eve his flaming sword and befriended the Serpent who caused their Fall, Azirphale isn’t a particularly conventional angel. He enjoys all-too-human indulgences like food and wine, runs a Hoarders-esque bookshop that never seems to sell anything, and spends most of his time making heart eyes at the being that’s meant to be his hereditary adversary.

Given the much more difficult task of playing the literal angel to Tennant’s charming devil, Sheen must find a way to make ideas like goodness and forgiveness as interesting and fun to watch as their darker counterparts. It’s a generally thankless task, but one that Sheen tackles with gusto, particularly in the series’ second season, as Good Omens explores Aziraphale’s slowly evolving idea of what he can and cannot accept in terms of being a soldier of Heaven. His growing understanding that the truth of creation is colored in shades of grey and compromise is often conveyed through little more than Sheen’s deftly shifting expressions and body language.

Our pop culture consistently struggles to portray the idea of goodness as something compelling or worth watching. Explicitly “good” characters, particularly those who are religiously coded, are frequently treated as the butt of some sort of unspoken joke they aren’t in on, used to underline the idea that faith is a form of naivety or that kindness is somehow a weakness. For a lot of people, the entire concept of turning the other cheek is a sucker’s bet, and believing in something greater than oneself, be it a higher power or a sense of purpose, is a waste of time. But Good Omens is a story grounded in the idea that faith, hope, and love—for one another, God, and the entire world—are active verbs. And nowhere is that more apparent than in Sheen’s characterization of the soft angel whose old-fashioned waistcoats mask a spine of steel and who refuses to give up—on Crowley, on humanity, or on the idea that Heaven is still something that can be saved.

Though he and Tennant have pretty much become a matched set at this point (both on and off-screen), Sheen’s performance has rarely gotten the critical accolades it deserves. (Tennant alone was nominated for a BAFTA for Season 2, and Sheen was categorized as a supporting actor when the series’ competed in the 2019 Saturn Awards.) But it is his quiet strength that holds up so much of the rest of the show around him, and Sheen deserves to be more frequently recognized for it. That he makes it look so easy is just another sign of how good his performance really is.

I love this so much. The thoroughly well-deserved praise for Michael's incredible performance as Aziraphale, but also that Aziraphale and Crowley's relationship is specifically described as a "romance." And of course, the first sentence of the last paragraph that acknowledges how much Michael and David are indeed a "matched set" that cannot (and should not) be separated...

[neonvqmpire]

we need to talk about how close aziraphale actually was to saying no to the metatron after the kiss and why:

he's extremely conflicted and keeps looking out of the window to crowley in the car.

he previously said "nothing last forever" when crowley told him that he cant leave the bookshop (crowley also meant "you cant leave me"; the bookshop is a metaphor for their lives on earth for him) and he states exactly this as the first objection here. obviously the metatron shuts it down by appointing muriel as the next owner of the shop.

now he's stuck between wanting to be with the being he loves & who he now knows loves him back and his deep inner need/duty to do good. crowley's confession and kiss clearly made him question his decision and change his mind because here is when he actually decides for both.

you can see how he does not want to join heaven alone. he keeps looking out the window when asked if he needs anything to take with him.

he desperately needs crowley there but he can not have him so he lies and says no.

i this moment he tries to say no to heaven one last time. he starts saying "i think i-" and then looks out to crowley one last time. he's really considering crowleys offer here. i think the decision that he makes instead is actually FOR crowley as well.

he decides to join heaven not as he was previously convinced by the metatron to do good and rule together with crowley (which he did not want to do) but instead to go and keep a close eye on heaven FOR crowley.

aziraphale isnt stupid, he remembers what crowley said about heaven being toxic.

i think the confession and kiss makes him question heaven. crowley, who fell for asking questions made aziraphale question heaven too. something that he was always too scared to do. he has started to rebel in his head. he realised that something has to be up with heaven/the metatron bc they offered him the position. he decided to go but with a completely different purpose than before. 

he puts on a smile and it seems fake because it is. he wants to appear like he hasn't just fundamentally changed his position and decided to go against the one force who he was always afraid of yet dependent on. 

this is sth extremely relatable to someone who is queer and autistic and was raised by very conservative family members. even the thought of supporting queer people felt rebellious, terrifying but also extremely exiting and powerful because i knew it was the right thing to believe. 

aziraphale was being so brave here. he saw a glimpse of the life he wants and can have and choose to join heaven anyway to fight for this life. he is convinced it will not be possible for them to be together if heaven is still kicking about and making him feel powerless and scared. he wants to secure their future by changing or possibly even destroying the system from the inside out. 

unfortunately he didn't have time to tell crowley about his change of intention and i think it really breaks his heart. crowley would probably not understand it anyway. they still have a lot to work through and learn but ultimately they will find each other again. they always do.

i am so so interested to see where and how they meet again in s3, if we get it. after everything i just really want them to be happy and to spend their eternity together. they deserve it after all they went through.

[krummholz-go]

The Final 15 - Aziraphale’s Perspective

I see a lot of empathy for Crowley’s experience during the final 15 minutes of season 2 and it makes sense that we feel deeply for him. What he is experiencing is very human - acknowledging the depth of his own feelings, plucking up the courage to say something, having it come out all wrong, feeling utterly rejected, and then walking away in a mix of pain and anger. Who among us hasn’t been there?

But Aziraphale is experiencing something more complicated, something fewer of us have analogs for. Aziraphale has internally acknowledged his feelings for Crowley for some period of time, probably at least since 1941. Michael Sheen confirms this mental state in a NYCC 2018 interview:

“I decided early on that Aziraphale just loves Crowley. And that’s difficult for him because they are on opposite sides and he doesn’t agree with him on stuff. But it does really help as an actor to go, ‘My objective in this scene is to not show you how much I love you and just gaze longingly at you.’”

Unlike Crowley, Aziraphale’s struggle isn’t acknowledging his feelings. His struggle appears to be two-fold: 1) believing that Crowley could ever love him back and 2) even if Crowley did love him, believing a future for the two of them together could exist within the restrictions of his larger world view.

Can Crowley love?

Angels are, traditionally, beings of love. We see Aziraphale embody this time and again, showing kindness and support to almost everyone he meets, including the amnesiac Gabriel who has treated him abominably in the past. He is attuned to love, remarking on how the area around Tadfield “feels loved” twice in Season 1. As for how Aziraphale personally understands and expresses love, he shows his love to others through verbal affirmation and, to a lesser extent, physical touch. There are many examples of Aziraphale expressing his love for Crowley through positive verbal affirmation, typically by praising him for instances where he has been kind, nice, or good. And on the rare occasions when Aziraphale receives verbal praise, he absolutely interprets it as an expression of love, blossoming with happiness.

But from Aziraphale’s perspective, it may be unclear if Crowley can feel love in the same way. Can demons love? Did he lose that capability when he fell? Crowley can’t feel the aura of love in Tadfield that Aziraphale remarks on, and his reactions to Aziraphale’s praise are always to shrug it off, tell Aziraphale to “shut up,” or in the most extreme case to physically slam him against a wall and get in his face about it. In this last instance he tells Aziraphale, “I’m a demon, I’m not nice. I'm never nice. Nice is a four-letter word.” A four-letter word, like love, that is not in Crowley’s self-defined vocabulary.

If Crowley can feel love, does he love Aziraphale?

Even if Aziraphale believes Crowley is capable of feeling love, he does not always recognize how Crowley expresses it in the moment. Crowley shows his love for Aziraphale through actions, but Aziraphale often misconstrues Crowley’s motivations. In 1793 when Crowley rescues him from the Bastille, Aziraphale initially assumes Crowley is only there because he is responsible for the Reign of Terror. Similarly, in 1941, Aziraphale’s reaction to Crowley’s appearance is to assume he’s just part of the Nazi gang, saying,“I should have known. Of course. These people are working for you!”

Crowley doesn’t help matters in this regard because he is constantly muting and undercutting his signals to Aziraphale. Every time Crowley expresses his love for Aziraphale through actions - rescuing him, saving his books, even taking him to lunch - he does so in a nonchalant, dismissive manner, indicating he ascribes little value or importance to the actions he has performed. “I just didn’t want to see you embarrassed,” he says when he appears in 1941. And when Aziraphale positively glows with happiness about his books being saved, Crowley tells him to “shut up."On top of these confusing signals, Crowley is almost pathologically incapable of expressing his feelings in the verbal love language that Aziraphale can understand. This is heartbreakingly demonstrated in this scene after the bookshop fire:

Crowley can’t even say “I lost you.” Instead he speaks of Aziraphale in the third person while sitting in front of him, saying, “I lost my best friend.” The little hitch on Aziraphale’s face when he hears this is just devastating. Who is Crowley talking about? The last conversation they had before this scene was when Aziraphale called while Hastur was in Crowley’s apartment and Crowley said, “Not a good time - got an old friend here.” Aziraphale is left to wonder - is that who Crowley means when he says "best friend?" Crowley is everything to Aziraphale, but what is he to Crowley?

How Would It Even Work?

Even when Aziraphale does get flashes of the possibility that Crowley may care for him he immediately runs up against his second mental block - there is no world he can imagine where they could be together. When Crowley first suggests running off together in the bandstand scene in S1E3, Aziraphale collapses under the thought: “Friends? We aren’t friends. We are an angel and a demon. We have nothing whatsoever in common. I don’t even like you.”

While he is obviously in denial, Aziraphale is also under tremendous stress in this moment and is desperately trying to hold onto some stability by falling back onto his world view and ideology. In this state he backpedals all the way to “I don’t even like you.” In his understanding of the way the universe is supposed to work, he and Crowley are hereditary enemies and should not even be friends, much less in love. Aziraphale expresses this core belief throughout the series. What kind of existence could they ever have together in reality?

The Final 15

With this as a background, we can better understand what Aziraphale experiences in the final 15 minutes. Even before the Metatron enters the scene, Aziraphale begins to have his fundamental beliefs challenged which puts him off his footing. The revelation that Gabriel and Beelzebub are in love is deeply impactful. When Beelzebub says “I just found something that mattered more to me than choosing sides” and takes Gabriel’s hand, Aziraphale immediately reaches out to make contact with Crowley, a look of incredulity on his face. Here is proof that demons can feel love and that an angel and a demon can carve out a space together. The road may be difficult, but it is not impossible.

Before Aziraphale can digest this revelation the stakes are ratcheted up: Michael threatens to erase Aziraphale from the Book of Life due to his part in hiding Gabriel. The future that Aziraphale has just barely glimpsed is already under siege. It is at this point that The Metatron enters, offering Aziraphale not just survival and protection, but a version of everything he has ever wanted.

If Crowley is reinstated as an angel, Aziraphale will no longer have to wonder whether Crowley is capable of feeling love. And if they are both angels, there will be no conflict inherent in having a life together. In one fell swoop, the Metatron entices Aziraphale with a future where there are no remaining blockers to an eternal, loving existence with Crowley. It will be “like the old times, only even nicer” because they now have millennia of their shared history to build on together. Of course this logic is horribly flawed and does not take into account at all what Crowley wants, but in the moment it must feel like an enormous gift to Aziraphale.

Unfortunately, not only is Crowley’s reaction to this “incredibly good news” not what Aziraphale expects, the conversation quickly takes a baffling turn for him. Crowley shuts down the talk about returning to heaven and attempts to say what he wants to say. Sadly he once again utterly fails to speak in a way that Aziraphale can understand.

The audience knows what Crowley is trying to say because we have the context of his earlier conversation with Maggie and Nina. But Aziraphale lacks that and thus can’t understand where this is coming from or what it means. Rather than expressing his feelings as Beelzebub and Gabriel did, Crowley recites facts: we’ve known each other a long time, we’ve been on this planet a long time, I could always rely on you, you could always rely on me. He can’t even say the word “couple” when he describes them, referring to them more as colleagues with words like “team” and “group.” And the one time he does try to express his feelings and desires he is physically unable to get out the words: “And I would like to spend—.” He then retreats into his old plea to turn away from heaven and hell and run off together. Nowhere in Crowley’s confession does Aziraphale hear “I love you” or even “I want to be with you.” What he hears instead is what he’s heard multiple times before - Crowley wants to abandon both heaven and hell and default to just the two of them. From Aziraphale’s perspective this will not solve anything for them. They will still be an angel and a demon, at some level fundamentally separated by their very natures.

Having failed in his speech, Crowley then does two things in rapid succession that must be excruciatingly painful for Aziraphale. First, he does the opposite of verbal affirmation by calling Aziraphale an idiot. We have seen Aziraphale become physically radiant in the rare instances where Crowley has praised him, so a direct insult like this must feel poisonous. Then Crowley makes a last desperate attempt to communicate through Aziraphale’s other love language - physical touch - by initiating the kiss. But without context or understanding of what is behind it, Aziraphale can initially only experience it as forceful, angry, and shocking. With more time to parse it I think Aziraphale will come to understand Crowley’s meaning, but in the moment it must feel manipulative and borderline cruel.

The Results

In a very compressed time frame, Aziraphale has to move quickly and radically through multiple mental and emotional states. For 6000 years he has believed he and Crowley cannot be together. Suddenly, with the revelation of Gabriel and Beezlebub, that foundational belief is challenged. Before he can work through what that could mean for him and Crowley, the Metatron offers an even cleaner solution - they can be protected from retribution and be on the same side again. When Crowley rejects reinstatement wholesale, it makes Aziraphale feel that he and his loving offer of a life together have been personally rejected. Then that rejection is further confused through the shocking experience of the kiss which Aziraphale does not have adequate context for or time to understand and integrate. In his emotional turmoil, Aziraphale falls back on his default crutch for dealing with sadness and anger - forgiveness - which further cuts him off from Crowley. Taken all together, this is a tumultuous rollercoaster of whiplash emotions that pull at every part of Aziraphale's self- and world-views.

Compared to what Crowley is going through, I think Aziraphale is going to have the tougher road in Season 3. Crowley may still need to better reconcile and integrate his feelings for Aziraphale, but Aziraphale has 6000 years of foundational ideology to challenge and evolve to reach a place where he and Crowley can be together as their authentic selves.

[createserenity]

Aziraphale and Crowley's relationship dynamic fascinates me and what fascinates me even more is how people perceive them, partly because I seem to have a much more optimistic view of their dynamic than a lot of what I read suggests they do.

With that in mind I started trying to unpick how I see their dynamic and why and what I ended up with was a series of rambles on various aspects, including confidence, trust, silliness and what they ask of each other. This one is about what they ask of each other and why their relationship isn't some weird one-sided thing where Crowley gives Aziraphale everything he could possibly want or ask for.

I see a lot of posts and things suggesting Crowley always rolls over and does anything Aziraphale asks of him. I don’t know to what extent most people really believe this or if it’s just a fun joke (and I’m not saying that’s bad, I think it’s a fun joke too, I love reading all that stuff and it makes me laugh). The point I wanted to make here though is that I don’t think it’s true and also why I don’t think it’s true.

Everything from here on out is my opinion, but I won’t keep stating that in order to make it more easily readable, just take it as a given. If your opinion is different that’s absolutely fine, I love that we can all see this stuff in different ways depending on our experiences and personalities, it’s why the fandom is so fun. (It’s also why my opinion on so many things in season two ricochets wildly from one theory to another).

So back to Crowley and Aziraphale – I don’t think Aziraphale walks all over Crowley, or certainly not to the extent that people sometimes think he does. Also Crowley doesn’t and wouldn’t allow himself to be walked all over anyway. Why is this even relevant? Because I’ve seen people say that in the final 15 minutes Aziraphale finally asked Crowley to do something that pushed him over the edge and that Aziraphale was shocked when Crowley didn’t roll over and do it because Crowley always does what Aziraphale asks. This isn’t at all true for a start, but also this view tends to include a second assumption, which is that their relationship is one-sided and Aziraphale never does anything for Crowley, that he dismisses him and takes him for granted, which also is not true in a lot of ways. I think it’s a fundamental misinterpretation of their relationship dynamic.  

First of all why can Crowley’s actions be interpreted as just rolling over and doing whatever Aziraphale wants? Well, the answer to that is three-fold – firstly Crowley is a genuinely unselfish in many ways, he does things for people because that’s the way he is, it doesn’t make him a pushover, it just makes him nice. Secondly he loves Aziraphale deeply. Whether he knows it or not doesn’t matter, he cares for Aziraphale and wants him to be happy. This isn’t the same as being a complete doormat, it’s simply compromising with the person you are in a relationship with and occasionally prioritising them over yourself. Both these things come together in the third thing, which is that Crowley’s love language is acts of service – he enjoys doing nice things for Aziraphale, he enjoys rescuing him, or going along with him and letting him have his own way, so why not do it? The point is he’s never railroaded into it by Aziraphale, it’s always a deliberate choice. He is literally saying, I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you.

How does Aziraphale see this behaviour?

Well that’s a tricky one, because in many ways Aziraphale is the more complex character, not least because he changes the most over the course of their history together. Is there a slight element of him taking Crowley for granted in some of their interactions, especially in season two? Possibly, but mostly I don’t think that’s it at all. When someone gives you things because their love language is acts of service you develop a (mostly sub-conscious) confidence in that relationship dynamic and if you also have confidence in yourself (which Aziraphale absolutely does – I’ll write more on this another time) then when you want something you ask for things. You ask not because you learn to expect, but because you think you’re worthy of asking and you think that your relationship is strong enough to stand up to the ask. I ask my husband for things all the time, sometimes they’re things I know he’ll give me – these are easy asks (I don’t just mean physical objects, I also mean acts of service such as helping me with something), sometimes though I’ll ask for things knowing he probably won’t give me that thing or without having a clue what his answer will be – these are harder asks, the sort you don’t do early on in relationships because they might break it either in one go or over time. Sometimes a hard ask results in me getting what I want, sometimes it results in a bit of back and forth before I get what I want, sometimes I get a no and I’m temporarily annoyed or upset, sometimes I get a no and I accept it because I knew it was the most likely outcome.

The point is that I ask, and so does Aziraphale. You ask because you have confidence that you are worthy of the ask and also that your relationship is strong enough to bear the request, even if the answer is no. Can a no still be annoying or upsetting? Yes absolutely. Can a no still be wrong on the part of the other person? Also yes. The point is that sometimes the no isn’t wrong and it doesn’t necessarily break the relationship. By the time season two comes along Aziraphale is confident enough in his relationship with Crowley to feel it can bear the weight of him asking.

So what happens when he asks? Does Crowley roll over?

Well no, he doesn’t. One big example of this is right at the beginning of the series, in episode one. Here Aziraphale makes a massive ask of Crowley and he knows it’s a big ask. Even before he tells Crowley what the problem is he’s aware of the possibility of a no. “Is it something I can help you with?” Crowley sayss, and Aziraphale merely shrugs. It’s not because Nina is there, she’s gone by that point. It’s also not because he doesn’t have faith in Crowley’s ability to help him, he always has faith in Crowley’s abilities (this is a whole other thing on trust). What he’s doubting is whether Crowley will help him. It’s why they’re meeting in the café, not the bookshop. He wants to break this one to Crowley a bit at a time – there’s a problem and I need help. I want your help, it’s why I called you, but you aren’t going to like it and I’m not even sure whether you will help so I’m establishing that I need help first, rather than showing you Gabriel immediately, so that you aren’t completely surprised when I present the whole problem to you.

Once they go to the bookshop and Crowley is confronted with Gabriel he offers the help he feels able to give by saying that he’ll drive Gabriel somewhere and dump him. He’s stating his willingness to help (which is important later), but for now he’ll only help in one specific way. What he isn’t willing to do is any more than that, not even for Aziraphale.

Help me take care of Gabriel. Help me sort this mess out, Aziraphale says, and what does Crowley say? No. Absolutely not. You’re on your own with this one. Even after Aziraphale practically begs him for help, complete with puppy dog eyes and the magic word, “I’d love you to help me,” Crowley still says no. That is not the reply of someone who lets themselves be walked all over or who rolls over every time the angel they’re in love with flutters their eyelashes.

Okay so what about the fact that he returns? Well, the stakes have been raised: for a start Aziraphale is now directly in danger, which alters the balance in favour of helping him, and remember he was already willing to help, he said as much, but he was previously only willing to help in one way. Now that’s changed. Doing things you wouldn’t normally do for someone you love when the stakes are raised is a perfectly normal rection in a relationship and does not indicate an unhealthy dynamic. Crowley has now realised that getting rid of Gabriel is no longer an option - his preferred plan (dumping Gabriel somewhere) will no longer work, so the only choice is now Aziraphale’s plan of keeping him in the bookshop and taking care of him.

This is why he returns.

A quick note on the call

Just backtracking a bit here – when Aziraphale calls Crowley to ask him for help Crowley agrees to be over in two minutes. It’s instant, no questions asked and at first glance looks like Aziraphale calls and Crowley comes running just because. But nope. Later we are very clearly told that Crowley knows something is wrong the moment he picks up the phone and Aziraphale starts speaking, “This was your ‘Something’s Wrong’ voice.” Crowley already knows there’s a problem and what do you do when your closest friend calls you and tells you about a problem? You try to help. Whether that’s advice, comfort, physically going around to help out or whatever the situation calls for. Of course Crowley says he’ll be there in two minutes, he doesn’t exactly have anything else on and his friend has just indirectly told him something is wrong. He’d be a pretty shitty person/entity if he didn’t agree to drop round and try to help.

So what about the 'I was wrong' dance?

This whole interaction, that many people say indicates how under the thumb he is actually shows us the exact opposite. What’s the first thing Crowley says when Aziraphale asks him to do the dance? “I don’t do the dance.” This tells us a hell of a lot about their relationship dynamic up to this point – for a start Aziraphale has clearly done the dance before, at Crowley’s request, and he lists off the occasions. The dance is silly and slightly demeaning and Aziraphale has done it several times for Crowley, whilst Crowley has never done it, yet somehow we read this whole scene as Crowley being the whipped one? Um. No. Also heavily implied in Crowley’s, “I don’t do the dance” statement is, You’ve asked me to do this before, I’ve always said no because I don’t want to. You’ve always accepted my no before and I want (expect!) you to accept it this time.

But this time Aziraphale doesn’t accept the no. Just like Crowley wouldn’t go along with his plan earlier, Aziraphale now won’t go along with Crowley’s no. Clearly he has done so in the past, but this time their dynamics are different. They’ve been much more open about their friendship for the past four years, they’ve both accepted that they are at least close friends, if not more. They’ve saved the world together and saved each other. They both acknowledge they “carved (this existence) out for ourselves” and that brings strength to their relationship. Now that Aziraphale has more confidence in what they are to each other, he takes that confidence and tests the limits of what Crowley will do for him, to push them more towards equality. Why should he always be the one to do the dance? Crowley responds by acquiescing not because he would just roll over and do anything for Aziraphale but because he recognises three things. Firstly that Aziraphale is pushing and that this is new and that this means something to him in the context of their relationship, secondly because he reluctantly accepts Aziraphale’s point that it isn’t really fair that he never does it, and finally because the request for him to do the dance isn’t about him refusing to help (Aziraphale was never certain he would), it’s about the fact that he’s broken Aziraphale’s trust by refusing to help (which is a slightly and very subtly different thing). To illustrate this, right before Crowley does the dance, just after he says “fine,” he gets this very brief, soft look on his face – this is him acknowledging to himself that Aziraphale deserves this dance, that he loves the angel and that he’s doing this because of both those things – he could have continued to insist on a no, he clearly has before, but this time he chooses not to.

I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you.

All right, what about the car thing?

What about it? Lending your car to the person you love is very normal. Ok so the car means more to Crowley than a normal car does to us, but the point still stands. Aziraphale is making a reasonable request here. Does he expect a yes? Absolutely, because he also knows it’s a reasonable request given where their relationship is. Does he flirt to get his own way? Hell, yes. Does Crowley know exactly what Aziraphale is playing at? Also a hell yes. And Crowley totally plays up to it, he’s not as opposed to it as he claims. He’s playing up his “no” and his grumpiness for effect, to encourage Aziraphale’s silly flirtiness. Look at the difference between this no and the no he gave Aziraphale earlier. There’s no anger here, there’s no real sense that he thinks Aziraphale is asking too much, he’s playing a role in their relationship and they’ve both played this game before. Look at that little slap of the hand, which Aziraphale responds to equally playfully. The game even continues after Muriel turns up at the shop, when it’s already quite clear that Crowley is going to let Aziraphale use the car (he’s already taking the plants out). Even in the back-room Crowley still teasingly grumbles about trains whilst Aziraphale smiles flirtily, and Crowley playfully withholds the car keys when Muriel interrupts them. They both know Aziraphale is going to end up with them, there’s no point to him not directly handing them over in spite of the interruption, it’s just an excuse to tease Aziraphale back. I mean, look at him – he spends the rest of the conversation wiggling his hips, grinning smugly and confidently handling the Muriel problem by talking about love. Aziraphale’s very overt reaction tells you all you need to know about the dynamic of this one.

Two can play at this flirting game, angel.

But he follows him around like a little puppy!

Well, yes and no. Sure he follows him around whilst he goes around asking all the shopkeepers to the meeting, but he does that because it’s fun for him. He’s curious, Aziraphale is acting oddly, doing something he’s never done before and Crowley wants to know what it is. He’s always found him fascinating – what silly and ridiculous thing is the angel up to now?

Also wanting to hang out with the person you are in love with isn’t at all strange or a sign you are in some sort of weird relationship where only one of you calls the shots. It’s normal. Crowley knows Aziraphale has a tendency to be silly or do unexpected things and he wants to watch him do them and also flirt with him whilst he’s doing them. Looking grumpy and reacting to Aziraphale’s silliness with disbelief is how Crowley flirts-without-flirting. Both of them know, understand and like that dynamic, and he has that role not because he’s unhealthy levels enthralled with everything Aziraphale does but because of the levels of trust they have spent millennia establishing.

What Crowley doesn’t do is wait around for Aziraphale. Look at the scene where Aziraphale daydreams about Job. In that scene he’s aware Aziraphale has something else to show him (the record clue), but he doesn’t stick around whilst Aziraphale ignores him. He could have sat down somewhere in the shop and waited – he’s got an eternity, waiting an hour or so is no big deal, but waiting around like that would suggest he really is a doormat, just waiting for the next time Aziraphale shows him any attention. He doesn’t do that, instead he goes off and does… well, something. There’s a lot of speculation over what it is, but whether he goes off to read Pride and Prejudice or just wanders off to find something more interesting to look at than the back of Aziraphale’s head, he’s clearly saying here that he has a life outside of whatever Aziraphale wants to do.

Also side note - you know what else he doesn’t do for Aziraphale? Adjust his driving style. Aziraphale clearly hates it, it makes him nervous and he even asks Crowley to change several times whilst they’re in the car together, but Crowley never does. This is how I am angel, accept it or don’t, but this is the line and I’m not changing this for you. Related to this is his refusal to accept Aziraphale altering the Bentley. Aziraphale tries to persuade him, “But it’s pretty,” and Crowley really isn’t having it. It’s another hard line and he’s not going to let Aziraphale cross it.

Anything else?

There’s a few other examples that I’ve seen listed in the, “Crowley does whatever Aziraphale says/wants” evidence piles. Things like Aziraphale assuming he’s going to get the drinks in the pub. Well, someone has to get them, and it makes perfect sense that they both assume it’s Crowley here because he’s the one more comfortable with pubs. Having a role that you take on within certain situations in a relationship is healthy and normal, imagine how exhausting it would be to debate who is going to do every little thing all of the time.

In the first series the coat cleaning is another example often cited, but this is something Crowley is perfectly happy to do. Aziraphale is flirting, which is delightful, and he’s not being asked to do anything difficult or dangerous. I will do this thing for you because I love you and I enjoy making you happy and this is something I feel I can give to you, which is totally different from, you always ask, I always give, and you always take.

What about Aziraphale. When does he give?

All the damn time. We just don’t notice it as much because Crowley asks different things of him. His love language is acts of service towards others, but he doesn’t really ask or require them in return. Sometimes he gets them from Aziraphale anyway (Holy water anyone?) Also notably in the Globe Theatre when he’s clearly the one pushing the Arrangement, and Aziraphale more or less agrees to do his work for him (“That doesn’t sound like hard work”) even before he’s asked, before they’ve gone through their little dance of Crowley pushing and Aziraphale supposedly-reluctantly agreeing.

The other things Aziraphale gives Crowley are much more nuanced, and much less measurable to us as the audience, but he gives them constantly, or more or less constantly, throughout their relationship. He gives him acceptance (although he occasionally partially withdraws it, such as in the bandstand scene), his silliness (which is more important than it first appears), a safe space (not just the bookshop, but also a safe space for Crowley to air his real views without fear of consequence, which is important irrespective of whether or not he persuades Aziraphale to agree with him), his physicality (by 1826 he’s really in Crowley’s space so much of the time) and most importantly he gives Crowley himself. Crowley constantly pushes Aziraphale to grow as a person, it’s one of the original reasons he entertains developing a friendship with him. What he asks of Aziraphale is for Aziraphale to think – really think – about what he believes. And Aziraphale does so, but only for Crowley. Humans have constantly questioned religious beliefs throughout history, they’ve written books, made speeches and even had wars over religious doctrine and the problems, inconsistencies and absurdities within it. Crowley is saying nothing to Aziraphale that he won’t already have indirectly heard from humans and dismissed or ignored. But when Crowley says it, he thinks and he changes. That’s what Crowley asks of Aziraphale and it’s what Aziraphale gives him.

What was the point of all this waffle?

Well, honestly there isn’t much of one. Only that their relationship is much more balanced than some suggest and I think I just wanted to spell that out. It also has an implication for the final 15 minutes. There’s no way Aziraphale goes into that with some sort of fake confidence that he can persuade Crowley to follow him to heaven simply because Crowley always follows him – Crowley doesn’t, he has very clear limits that he enforces with Aziraphale and Aziraphale knows this. He might feel confident for other reasons (such as thinking Crowley will be happy to be an angel again) or something else entirely different might be happening (so many theories!) but I’m pretty sure it’s nothing to do with thinking Crowley always does what he asks, because he very clearly doesn’t.

It's also why Crowley waits around afterwards to watch Aziraphale leave. It’s a way indirectly of saying one final time, I love you and I enjoy making you happy… but this is something I cannot give to you.

[inafever]

On how much Aziraphale has learned since season one:

This is about character development. Inside of a story, everything that happens, happens for a reason. It's meant to tell you something, to teach you or the character of your story, something.

So if the story continues and your character repeats the same mistakes again you know that they are bound to be doomed this time, and even worse the audience is going to certainly lose respect for them, cause they have made the same mistake twice, they haven't learned anything, they're gonna do it again another time, they don't deserve a happy ending. (yes I'm talking about good omens here) So you don't do that to a character that matters to you and you respect even the tiniest bit.

A Lot of us here are thinking that this is what has happened to Aziraphale's character at the end of season two, that he has done it again, repeated the same mistake again and has left Crowley to join heaven and it's been because of reasons like wanting to change Crowley (not true, see this post), still believing in heaven's goodness (not true at all), not being on the same page with Crowley (I'm gonna talk about this one especially in this post) and such likes. But these are the things he should've known better about after 6000 years and all the events that we've learnt about especially throughout season two. (It seems to be rather the whole point doesn't it?)

But we all seem to rather believe that he's made that mistake again nonetheless. so what we're doing here is trying to find reasons to justify the mistake and somehow make the reason behind the wrong actions something relatable to ourselves so we can forgive him when the time comes.

In fact I don't believe that he's made a mistake. for Aziraphale's character to be redeemable, what he has done, must be the only option that he's had for saving them both. I don't care what kind of situation could have resulted in him making this decision, but the only reason, the one and only reason, must be his love for Crowley. Otherwise it'll prove that he hasn't learnt his lessons or doesn't love Crowley enough to make a compromise, and in both cases, he's not worthy of love. He won't earn his happy ending by being tortured and feeling sorry and doing the apology dance for Crowley if he's hurt Crowley out of selfishness and stupidity again

But I'm sure he'll earn his happy ending and I'm sure he's learnt his lessons and it's too late for him to have unlearned them all in a matter of a few seconds. (He is an idiot but he's not stupid) and it's mostly because of this, that I believe the reason why he made that decision, must be very different from what it appears to be on the surface.

Anyway, this post is about what Aziraphale has learned and how he's changed.

I have made a post about their moments of conflict from both season one and two, it's here and you can look it up. This is where you begin to understand how Aziraphale has changed since season one because these are his dialogues after he's had a fight with Crowley in the bandstand, season one:

"even if I did know where the antichrist was I wouldn't tell you we're on opposite sides"

"friends? We're not friends. We are an angel and a demon. We have nothing whatsoever in common. I don't even like you"

"there is no our side Crowley. Not anymore. It's over"

And then there's season two, when they disagree on what to do with Gabriel, Aziraphale is the one to point out that they both rely on the life they've built together

He's asking him to help him take care of Gabriel together and in response Crowley leaves

In the final scene he asks Crowley to come back to heaven

"work with me" "We can be together as Angels, Doing good" "I need you."

He says anything he can think of literally to convince him to stay with him and it doesn't work

We start from "we're not friends" and arrive at "work with me. we can be together"

Even if we don't know the reason why he's insisting on taking Crowley back to heaven with him, this is an Angel that has picked up the pace. That wants them to be an us. No matter what.

But these are only a few dialogues. I think there's more than that. I think the show in five and a half episodes (out of six) has tried its hardest to make the point quite clear about how Aziraphale feels about Crowley (or how strongly he feels those emotions). all through the way he looks at him and through his gestures and soft touches from time to time

I'm gonna make another post of those moments separately and I'm gonna link it to this when I do.

update: (here's the post. not just average moments of Aziraphale looking cute, it's something about the way he looks at him)

And I'd like to even compare those wishful glances to some of those from season one, but I can't, cause they are nonexistent in there.

[fiovske]

can I just say. coffee theory is stupid and completely cheapens the choice Aziraphale makes.

Aziraphale continues to say no to Metatron's offer until Metatron uses the real bait: if you take over Heaven, you can reinstate Crowley to his Angelic status. And that is what gets Aziraphale to say yes hook line and sinker — he can take Crowley with him so Crowey doesn't have to be afraid of Hell and Aziraphale can run things Do It Right as the Head of Heaven and no one would say anything to Crowley ever again if Aziraphale was on his side. Aziraphale doesn't know about the trial and the fact that Gabriel was fired for disagreeing w Heaven on the Second Armageddon front. He just thinks Gabriel was fired bc he fell in love w a demon (and Aziraphale's in love w a demon). Aziraphale strongly believes that if he can reinstate Crowley as an angel again then there would be no such objections from Heaven at all, because they would both be on the same side and they can be together and if anything ever goes wrong, both Crowley and he would be protected under Aziraphale's position as the new boss of Heaven. Plus, the way he remembers it, Crowley enjoyed making things creating things and still likes to do good deeds which he gets in trouble for if Hell finds out, but he won't if he's an angel, in Aziraphale's eyes then Crowley would be free to do all the good he liked. And because Aziraphale would be the boss, Crowley would be able to ask questions and work with him and make things better w his inquisitive perspective, something Crowley always wanted to do and Aziraphale wants to give him that also.

He doesn't know the full depth of things that Crowley knows, which is why when Crowley hears Aziraphale's offer, all he hears is that Aziraphale is choosing Heaven, after everything they have done to him, Aziraphale is leaving Crowley FOR Heaven. The way he sees it, Aziraphale wants him to change and be Heaven's definition of "Good" so they can both be in Heaven, conforming to a life Crowley left behind long ago, a life he knows Aziraphale wouldn't be happy in either. Which is the killing blow to Crowley's heart bc Aziraphale would choose THAT instead of coming away with Crowley? Devastating. But he doesn't know that Metatron's offer WAS Crowley's Angelification and hence forth security that got Aziraphale to say yes. Crowley hasn't communicated a lot to Aziraphale but Aziraphale also hasn't communicated a lot to him either and they're both on very different pages w the information they've got and what they feel they need to do to be together and be safe and happy.

Does Aziraphale make the naive choice? Yes. Does he make so in full control of his mind and senses? Also yes. Having his coffee poisoned is an incredibly cheap tactic because as a writer it's a cop out. It robs Aziraphale of not only his agency but also the reasonings behind his choice. It absolves him from the struggles and consequences of his actions and robs him of the growth and realization and epiphany he will have in the third act. It cheapens their inevitable reconciliation.

Metatron didn't hand him the coffee to poison him. He handed it to him so he can use the manipulative familiarity of "oh look i brought ur coffee order, isn't it cool how I know your coffee order isn't it nice how we are close like that?" that was the tactic. to get him to listen. Not some elaborate coffee poison.

[fuckyeahisawthat]

I think Crowley falls into two of the classic pitfalls of people who see that the problems are systemic long before anyone else around them does: impatience and despair.

(Yes yes I know, “Crowley was an optimist.” Book Crowley is an optimist. I don’t think that line is particularly useful for analyzing TV Crowley. Stay with me here.)

Let it be said that 95% of the time, Crowley has the patience of a fucking saint (ssh don’t tell him) around Aziraphale. He knows that Aziraphale needs to build his little plausible deniability rationales in order to do something that they both know he wants to do (because it’s right or simply because he would enjoy it) but Heaven wouldn’t approve of. And most of the time, Crowley is happy to help Aziraphale get there, asking the questions Aziraphale is afraid to ask, offering excuses and justifications until Aziraphale finds one he can accept. He does a lot of work of parsing out when “no” means “you haven’t convinced me yet, keep trying” and pushing through all the “I’m an angel, you’re a demon, we’re on opposite sides and mine is the good one” talk that Aziraphale gets up to all the way through s1. Because he knows that Aziraphale doesn’t really believe that stuff, right? He just needs some time to talk himself around his own cognitive dissonance, and most of the time Crowley is not only happy to facilitate that but sees it as part of his role in their relationship.

But then when the chips are down and Aziraphale is still dithering, that’s when he gets frustrated, because HOW CAN YOU NOT SEE what’s been blindingly obvious to Crowley for millennia, that Heaven is just as cruel as Hell and no one is going to step in and fix it because the system is working as intended. And that’s when he says things like “how can someone as clever as you be so stupid?” Which is a surefire way not to convince the person you’re arguing with of anything.

And then there’s the despair. I really think the running away thing is not about cowardice or selfishness or some kind of unhealthy level of avoidance of hard or scary things, but about hopelessness. They’ve spent their lives avoiding very very real danger, and of the two of them Crowley is much more constantly aware of the danger that they are in from both sides. Yes he’s hypervigilant but he is also almost always right about the amount of danger they are in. Trying to get as far away from danger as possible is not an irrational response, even if it’s not always the correct one for a given situation.

When you feel like you’re the only person who sees how rotten the system is, how it needs to be dismantled entirely, but you are also VERY aware of how strong the people in power are and how ruthless they are about crushing dissent because you experienced it personally…well that gets fucking depressing after a while. Because even if you think the whole system needs to go, that feels like a completely unattainable goal when it seems like no one else even sees the problem, or if they see it, they are too afraid to do anything about it. And can you blame them? You know exactly what happens to people who speak up.

So it’s very easy for your goals to shrink from systemic change to just taking yourself and the people you love and finding somewhere for them to be as safe as possible, for as long as the system will let you exist. Because reforming the system is a fool’s errand, and dismantling it entirely seems impossible. I think this is where Crowley is at. Even if on some level he knows it’s an imperfect solution, because both of them have enough compassion that they would feel guilty abandoning Earth and humans to save themselves, and because Heaven and Hell really can find them anywhere in the universe. He just doesn’t see another option.

And look, I think Aziraphale is 100% wrong that Heaven can be reformed. But he is not wrong to want to stay and fight to make things better, even if it means sacrificing the Earthly comforts he loves so much, and even if it means doing it without Crowley by his side.

Ultimately they both need each other. Aziraphale needs Crowley for his willingness to ask questions and to see the scale of the problem, even if it’s terrifying. But Crowley needs Aziraphale for his hope, his stubborn determination to believe things can and should be better, and to fight for that. In the right hands, hope is an enormously powerful weapon.

[santacoppelia]

Putting the Meta in "Metatron"

(couldn't resist the pun, sorry)

Ok, this has been tickling my brain for a while. I've been thinking about how The Metatron designed his role and discourse specifically to manipulate Aziraphale into the end result we saw in the last minutes of S2. I become obsessed with it because… well, I'm a bit obsessive, but also because there were many really smart writing decisions that I loved (even when I despise The Metatron exactly for the same reasons. Hate the character, love the writer). If you haven't watched Good Omens Season 2, this is the moment to stop reading. Come back later!

We already know that in Book Omens, the role of Gabriel in the ending was occupied by The Metatron. Of course, the series introduced us to Gabriel and we won a lot by that, but I feel that the origins of The Metatron should be considered for any of this. He is not a "sweet old man": he was the one in charge of seeing over the operation of Armageddon; not just a stickler of rules, but the main promoter for it.

However, when he appears in the series finale, we first are primed to almost pass him by. He is in the line for buying coffee, using clothes that are:

obviously not tailored (almost ill fitted)

in dark tones

looking worn and wrinkled

This seems so important to me! All the angels we have seen are so proud of their aspect, wear clear (white or off white) clothes, pressed, impeccable (even Muriel), even when they visit the Earth (which we have already seen on S1 with all the visits to the bookshop). The Metatron chose a worn, comfortable attire, instead. This is a humanized look, something that fools all the angels but which would warm up someone very specific, can you guess?

After making quite a complicated coffee order (with sort of an affable and nervous energy), he makes a question that Crowley had already primed for us when asking Nina about the name of the coffee: having a "predictable" alternative and an unpredictable one.

This creates an interesting parallel with the next scene: Michael is discussing the possibility of erasing Aziraphale from The Book of Life (a punishment even worse than Holy Water on demons, because not having existed at all, EVER is definitely worse than having existed and ceased to exist at some point) when The Metatron arrives, interrupts the moment and signals having brought coffee. Yup, an amicable gesture, but also a "not death" offering that he shows clearly to everyone (even when Michael or Uriel do not understand or care for it. It wasn't meant for them). He even dismisses what Michael was saying as "utter balderdash" and a "complete piffle", which are the kind of outdated terms we have heard Aziraphale use commonly. So, The Metatron has put up this show for a specific audience of one.

The next moment on the script has Metatron asking Crowley for the clarification of his identity. Up to this moment, every angel has been ignoring the sprawled demon in the corner while discussing how to punish Aziraphale… But The Metatron defers to the most unlikely person in the room, and the only one who will push any buttons on Aziraphale: Crowley. After that, Aziraphale can recognize him, and Metatron dismisses the "bad angels" (using Aziraphale's S1 epithet) with another "catchy old phrase", "spit spot", while keeping Muriel at the back and implying that there is a possibility to "check after" if those "bad angels" have done anything wrong.

Up to this moment, he has played it perfectly. The only moment when he loses it is when he calls Muriel "the dim one", which she ignores… probably because that's the usual way they get talked to in Heaven. I'm not sure if Aziraphale or Crowley cared for that small interaction, but it is there for us (the audience) to notice it: the sympathy the character might elicit is built and sought, but he is not that nice.

After that, comes "the chinwag" and the offer of the coffee: the unnecessarily complicated order. It is not Aziraphale's cup of tea (literally), but it is so specific that it creates some semblance of being thought with care, and has a "hefty jigger" of syrup (again with the funny old words). And, as Aziraphale recognizes, it is "very nice!" (as The Metatron "jolly hoped so"), and The Metatron approves of him drinking it by admitting he has "ingested things in my time, you know?". This interaction is absolutely designed to build a bridge of understanding. The Metatron probably knew that the first response he would get was a "no", so he tailored his connection specifically to "mirror" Aziraphale: love of tasty human treats he has also consumed, funny old words like the ones he loves, a very human, worn, well-loved look. That was the bait for "the stroll": the moment when Aziraphale and Crowley get separated, because The Metatron knew that being close to Crowley, Aziraphale would have an hypervigilant soundboard to check the sense of what he was going to get offered. That's what the nasty look The Metatron gives to Crowley while leaving the bookshop builds (and it gets pinpointed by the music, if you were about to miss it).

The next thing we listen from The Metatron is "You don't have to answer immediately, take all the time you need" in such a friendly manner… we can see Aziraphale doubting a little, and then comes the suggestion: "go and tell your friend the good news!". This sounds like encouragement, but is "the reel". He already knows how Crowley would react, and is expecting it (we can infer it by his final reaction after going back for Aziraphale after the break up, but let's not get ahead of ourselves shall we?). He even can work up Muriel to take care of the bookshop while waiting for the catch.

What did he planted in Aziraphale's mind? Well, let's listen to the story he has to tell:

"I don't think he's as bad a fellow… I might have misjudged him!" — not strange in Aziraphale to have such a generous spirit while judging people. He's in a… partnership? relationship? somethingship? with a demon! So maybe first impressions aren't that reliable anyway. The Metatron made an excellent job with this, too.

"Michael was not the obvious candidate, it was me!" — This idea is interesting. Michael has been the stickler, the rule follower, even the snitch. They have been rewarded and recognized by that. Putting Aziraphale before Michael in the line of succession is a way of recognizing not only him, but his system of values, which has always been at odds with the main archangels (even when it was never an open fight).

"Leader, honest, don't tell people what they want to hear" — All these are generic compliments. The Metatron hasn't been that aware of Aziraphale, but are in line with what would have been said of any "rebel leader". They come into context with the next phrase.

"That's why Gabriel came to you, I imagine…" — I'm pretty sure The Metatron didn't imagine this, ha. He is probably imagining that the "institutional problem" is coalescing behind his back, and trying to keep friends close, but enemies closer… while dividing and conquering. If Gabriel rebelled, and then went searching for Aziraphale (and Crowley, they are and item and he knows it), that might mean a true risk for his status quo and future plans.

Heaven has great plans and important projects for you — this is to sweeten the pot: the hefty jigger of almond syrup. You will be able to make changes! You can make a difference from the inside! Working for an old man who feels strangely familiar! And who recognizes your point of view! That sounds like the best job offer of the world, really.

Those, however, are not the main messages (they are still building good will with Aziraphale); they are thought out to build the last, and more important one:

Heaven is well aware of your "de facto partnership" with Crowley…

It would be considered irregular if you wanted to work with him again…

You, and you alone, can bring him to Heaven and restore his full angelic status, so you could keep working together (in very important projects).

Here is the catch. He brought the coffee so he could "offer him coffee", but the implications are quite clear: if you want to continue having a partnership with Crowley, you two must come to Heaven. Anything else would be considered irregular, put them in a worst risk, and maybe, just maybe, make them "institutional enemies". Heaven is more efficient chasing enemies, and they have The Book of Life as a menace.

We already know how scared Aziraphale has always been about upsetting Heaven, but he has learned to "disconnect" from it through the usual "they don't notice". The Metatron came to tell him "I did notice, and it has come back to bite you". The implied counterpart to the offer is "you can always get death". Or even worse, nonexistence (we have already imagined the angst of having one of them condemned to that fate, haven't we?)

When The Metatron arrives, just after seeing Crowley leave the bookshop, distraught, he casually asks "How did he take it?", but he already knows. That was his plan all along: making them break up with an offer Aziraphale could not refuse, but Crowley could not accept. That's why he even takes the license to slightly badmouth Crowley: "Always did want to go his own way, always asking damn fool questions, too". He also arrive with the solution to the only objection Aziraphale would have: Muriel, the happy innocent angel that he received with so much warmth and kindness, is given the opportunity to stay on Earth, taking care of the bookshop. The only thing he would have liked to take with him is not a thing, and has become impossible.

If God is playing poker in a dark room and always smiling, The Metatron is playing chess, and he is quite good at it (that's why he loves everything to be predictable). He is menacing our pieces, and broke our hearts in the process… But I'm pretty sure he is underestimating his opponents. His awful remark of Muriel being "dim"; saying that Crowley "asks damn fool questions", and even believing that Aziraphale is just a softie that can be played like a pipe… That's why telling him the project is "The Second Coming" was an absolute gift for us as an audience, and it prefigures the downfall that is coming — the one Aziraphale, now with nothing to lose, started cooking in his head during that elevator ride (those couple of minutes that Michael Sheen gifted to all of us: the shock, the pain, the fury, and that grin in the end, with the eyes in a completely different emotion). Remember that Aziraphale is intelligent, but also fierce. Guildernstern commited a similar mistake in Hamlet, and it didn't go well:

"Why, look you now, how unworthy a thing you make of me! You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass, and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me."

I'm so excited to learn how this is going to unfold!! Because our heroes have always been very enthusiastic at creating plans together, failed miserably at executing them, and even then succeeding… But now they are apart, more frustrated and the stakes are even higher. Excellent scenario for a third act!

*exits, pursued by a bear*