#the resurrectionists minisode

[itsscottiesstark]

Thinking about Crowley having the time of his life walking around Edinburgh with his husband and Elspeth, making jokes and teasing Aziraphale while also helping him realise the world is much grayer than he thinks.

Bonus points, these looks he's throwing Aziraphale, cause fuck me.

Extra bonus points, him also almost throwing an f-bomb when Wee Morag gets shot.

(Tumblr is absolutely destroying the quality, so please tap on them to clear them up, I worked hard on these 😭)

[aduckwithears]

"Oh, she absolutely did."

Good Omens S2/Ep3

[ladybracknellssherry]

how dare you call Dr. McFell english

dude. imagine like. your friend digs up a whole body for you and youre not ok with that obv and you say "youre going to hell, hen" and this fucking RICH ENGLISHMAN is like "correct!!" and then WALKS AWAY idk what Wee Morag was even thinking then but like. wtf lmao

[ducks-love-peas]

It was this free-will thing, of course. It was a bugger.

[bowtiepastabitch]

Historical Analysis: class and injustice in 'The Ressurrectionists' minisode

Alternate title: why we're tempted to be upset with Aziraphale and why that's only halfway fair

Okay so first off huge thanks to @makewayforbigcrossducks for asking the question (and follow-up questions lol) that brought me to put these thoughts all together into a little history nerd ramble. That question being, Why is Aziraphale so clueless? Obviously, from a plot perspective, we know we need to learn some lessons about human moral dilemmas and injustices. But from a character perspective? A lot of this minisode is about Aziraphale being forced to confront the flaws of heavenly logic. This whole idea that "poverty is ineffable" basically boils down to 'yeah some people are poor, but their souls can be saved just as if not more easily that way, so it's not our problem and they probably deserve it anyway for not working hard enough,' a perspective that persists in many modern religious circles. Aziraphale isn't looking at the human factor here, he's pretty much purely concerned about the dichotomy of good and wicked human behavior and the spiritual consequences thereof, because that's what he's been told to believe. His whole goal is to "show her the error of her ways." He believes, quite wholeheartedly, that he's helping her in the long run.

"the lower you start, the more opportunities you have"

So here's what we're asking ourselves: Why did it take him so bloody long to realize how stupid that is? Sure, he's willing to excuse all kinds of things in the name of ineffability, but if someone in the year of our lord 2023 told me he was just now realizing that homelessness was bad after experiencing the past two centuries, I'd be resisting the urge to get violent even if he WAS played by Michael Sheen.

Historical context: a new type of poverty

Prior to the 19th century (1800s), poverty was a very different animal from what we deal with now. The lowest classes went through a dynamic change leading up to the industrial revolution, with proto-industrialization already moving people into more manufacture-focused tasks and rapid urbanization as a result of increasingly unlivable conditions for rural peasantry. The enclosure of common lands and tennancies by wealthy landowners for the more profitable sheep raising displaced lots of families, and in combination with poor harvests and rising rents, many people were driven to cities to seek out new ways of eeking out a living.

Before this, your ability to eat largely would have depended on the harvest in your local area. This can, for our purposes, be read as: you're really only a miracle away from being able to survive the winter. Juxtapose this, then, with the relatively new conundrum of an unhoused urban poor population. Now if you want to eat, you need money itself, no exceptions, unless you want to steal food. Charity at the time was often just as much harm as good, nearly always tied deeply up in religious attitudes and a stronger desire to proselytize than improve quality of lie. As a young woman, finding work in a city is going to be incredibly difficult, especially if you're not clean and proper enough to present as a housemaid or other service laborer. As such, Elspeth turns to body snatching to try to make a better life for herself and Wee Morag. She's out of options and she knows it.

You know who doesn't know that? Aziraphale.

The rise of capitalism

The biggest piece of the puzzle which Aziraphale is missing here is that he hasn't quite caught onto the concept of capitalism yet. To him, human professions are just silly little tasks, and she should be able to support herself if she just tried. Bookselling, weaving, farming, these are all just things humans do, in his mind. He suggests these things as options because it hasn't occurred to him yet that Elspeth is doing this out of desperation, but he also just doesn't grasp the concept of capital. Crowley does, he thinks it's hilarious, but Aziraphale is just confused as to why these occupations aren't genuine options. Farming in particular, as briefly touched on above, was formerly carried out largely on common land, tennancies, or on family plots, and land-as-capital is an emerging concept in this period of time (previously, landowners acted more like local lords than modern landlords). Aziraphale just isn't picking up on the fact that money itself is the root issue.

Even when he realizes that he fucked up by soup-ifying the corpse, he doesn't offer to give them money but rather to help dig up another body. He still isn't processing the systemic issues at play (poverty) merely what's been immediately presented to him (corpses), and this is, from my perspective, half a result of his tunnel-vision on morality and half of his inability to process this new mode of human suffering.

Half a conclusion and other thoughts

So we bring ourselves back around to the question of Aziraphale's cluelessness. Aziraphale is, as an individual, consistently behind on the times. He likes doing things a certain way and rarely changes his methodology unless someone forces his hand. Even with the best intentions, his ability to help in this minisode is hindered by two points: 1)his continued adherance to heavenly dogma 2)his inability to process the changing nature of human society. His strongest desire at any point is to ensure that good is carried out, an objective good as defined by heavenly values, and while I think it's one of his biggest character hangups, I also can't totally blame him for clinging to the only identity given to him or for worrying about something that is, as an ethereal being, a very real concern. Unfortunately, he also lacks an understanding of the actual human needs that present themselves. Where Elspeth knows that what she needs is money, Aziraphale doesn't seem to process that money is the only solution to the immediate problem. This is in part probably because a century prior the needs of the poor were much simpler, and thus miraculous assistance would never have interfered with 'the virtues of poverty'. (You can make someone's crops grow, and they'll eat well, but giving someone money actually changes their economic status.) Thus, his actions in this episode illustrate the intersection of heavenly guidelines with a weak understanding of modern structures.

This especially makes sense with his response to being told to give her money. Our angel is many things, but I would never peg him as having any attachment to his money. He's not hesitant because he doesn't want to part with it, he's hesitant because he's still scared it's the wrong thing to do in this scenario. He really is trying to be good and helpful. So yes, we're justifiably pretty miffed to see him so blatantly unaware and damaging. He definitely holds a lot of responsibility for the genuine tragedy of this minisode, and I think Crowley pointing out that it's 'different when you knew them' is an extremely important moment for Aziraphale's relationship with humanity. Up until now, he's done a pretty good job insulating himself from the capacity of humans for nastiness, his seeming naivity at the Bastille being case in point.

In the end, I think Aziraphale's role in this minisode is incredibly complex, especially within its historical context. He's obstinate and clueless but also deeply concerned with spiritual wellbeing (which is, to Aziraphale, simply wellbeing) and doing the right thing to be helpful. While it's easy to allow tiny Crowley (my beloved) to eclipse the tragic nature and moral complexity of this minisode, I think in the end it's just as important to long-term character development as 'A Companion to Owls'. We saw him make the right choice with Job's children, and now we see him make the wrong choice. And that's a thing people do sometimes, a thing humans do.

~~~

also tagging @ineffabildaddy, @kimberellaroo, and @raining-stars-somewhere-else whose comments on the original post were invaluable in helping me organize my thoughts and feelings about this topic. They also provided great insight that, in my opinion, is worth going and reading for yourself, even if it didn't factor into my final analysis/judgement.

If I missed anything or you have additional thoughts, please please share!!! <3

[melbatron5000]

More minisode connections:

Right here.

All of the minisodes are on this matchbox.

The matchbox is from the Resurrectionist pub.

It has a quote from the Book of Job on it.

The quote is 41:19, or, if you flip that, 1941.

What is up with these intense minisode hints??

[clairedelune-13]

I love that the majority of the Scotland minisode, Crowley’s just dicking around, being a little shit. 😂

[laudaddysmitten]

Writers Guild Presents:

"Stunning View"

by LaudaddySmitten

Ineffable May day 16: "1827"

Ch 1: Hell's Graveyard Shift Is Run by Interns

Summary

When Hell fails to notice Crowley’s Very Good Deed, he is left in an Edinburgh graveyard trying to navigate a world tilted by laudanum. Fortunately for him, Aziraphale has no intention of leaving him to fend for himself. Fortunately for both of them, Crowley's compromised brain-to-mouth filter leads to a far more enjoyable evening than they expect.

Crowley stared at Aziraphale through a long, drunken pause during which his brain's temporal lobe made an admirable effort to process Aziraphale's words. It was mostly unsuccessful, but it could hardly be blamed for the visual cortex hogging all of Crowley's attention.

“You're so lovely!” He loudly blurted out with a toothy grin, before continuing. “You're like…glowy. Twinkly? No, 'bright’, probably. Oh I know the word- beautiful! You're beautiful. Beautiful Angel. Oh! And when you smile like that it's even better!”

CW/TW: Canon-typical substance use (but NO dub con); Rated Explicit (eventual smut)

Continue reading on AO3:

This baby is chock full of: fluff and humor, fluff and science, romantic fluff, fluff and science and smut, fluff and smut, & fluff and science smut. (Yes I mean what I said.) 😉🔭🥰 🧬🔥

Art banner (here's the uncropped version ^) by the amazing @lexarturo - thank you so much, it turned out so perfect!

Thanks to my most longstanding (and long-suffering) beta reader: @olfactoryventriloquism

And the @goodomensafterdark Writers Guild for all the support and even more betas:

@outrageousring5655 @happynachohologram

Astrophysics beta (yes, I really needed one of those, and yes, she's just the person): @nosferatini

And many others who read at least chapter 1 for me and gave great advice! @fishey-me @kotias @southernfriedamy @sixbynine-da @ghst-signal @foamfollowerisfallen @unapologetic-apathy

Also thanks to @bea-n-art for creating this Laudaddy portrait I've been obsessed with and inspired by since she made it. It's kept me motivated to write.

[alphacentaurinebula]

I need to talk about the Edinburgh minisode, because I have SO. MANY. THOUGHTS.

It's sort of an afterthought minisode in some ways. Before the Beginning gives us so much giddy joy (despite the ominous foreshadowing). 1941 gives us all the giddy romance. Job gives us so much insight into both characters histories and how they came to be who they are and work together...

The Resurrectionists gives us a morality play, basically, but also gives us Crowley high (and HIGH) on laudanum and plenty of bright shiny bits...

...so the morality side maybe doesn't get as much focus.

Which is a shame. Because the Edinburgh episode demonstrates perfectly the flaw in Aziraphale's understanding of the world that leads to him going to heaven.

When we start out in 1827, we are introduced to grave robbing and Aziraphale immediately decides that it is Bad (a sin). He does all he can to prevent the young woman he meets and likes from doing Bad (sinning), assumably to try to pave her way into Heaven. And Crowley tries to help her with her grave robbing, much to Aziraphale's chagrin.

Grave Robbing = Bad; Crowley supports Grave Robbing; Crowley=Bad

When they meet Mr Surgeon, and Crowley starts to ask some pointed questions meant to poke holes in Aziraphale's certainty, he flips entirely the other way, without noticing any of the other moral greyness (like the fact that Mr Surgeon would never take the risks or do the dirty work himself. Which is pretty important, since we learn in Edinburgh in the present that Mr Surgeon was so convinced of his own superiority and importance later on in his life that he started murdering people (probably "unfortunates" like Elspeth) when he couldn't get corpses fast enough).

Grave Robbing = Good; Crowley supports Grave Robbing; Crowley = Good

When he is then confronted with the idea of selling Wee Morag's body, and Crowley points out it is different when it's someone you know, Aziraphale is basically frozen in indecision. He doesn't know what the good thing is anymore.

He spouts the party line about the fact that starting off poor somehow gives Elspeth an advantage when it comes to Heaven, but is unable to explain why or how, not even to himself. And when he's put on the spot as Elspeth tries to kill herself, he doesn't have any arguments to offer.

CROWLEY: Say something! That... convinces her that poverty is ineffably wonderful and that life is worth living. Go on!

But despite all the moral ambiguity present throughout the episode, Aziraphale still sees everything as black and white. First, grave robbing is bad, then it is good. First, Crowley is bad (when he has the opposite position to Aziraphale), then he is good (when he has the same position). Aziraphale never understands Crowley's constant questions are a challenge to the very idea that there IS a 'good' in this situation. He never examines or questions the complex systems of class and sexism and capitalism which force Elspeth to this desperate recourse, or the laws which prevent Mr Surgeon from accessing bodies for research via legal means.

He doesn't see the systemic injustic. He just sees individual moral actors making either good or bad choices.

(and just to deviate slightly from the Edinburgh minisode -- while he says he understands that sometimes things are not just black or white but also grey, in 1941 - I don't actually think his grey and Crowley's grey mean the same thing. The 'greyest' thing that Aziraphale does in 1941 is help a showgirls theatre and hide information from Hell - this is not the same thing as truly seeing that some situations simply don't have a Right Thing to do, or understanding that systems shape and control individuals' decisions, so the idea that humans all have the same ability to choose Right is an illusion.

AZIRAPHALE: You know, they cannot be truly holy unless they also get the opportunity to be wicked.

So it is no wonder at all that when the Metatron offers him the opportunity to run Heaven, he doesn't see a broken institution or systemic oppression/injustice, but rather a series of bad actors preventing Heaven from achieving the Goodness it is meant to represent.

[tsilvy]

something about those little moments in s2ep3 with crowley alone in the bookshop while aziraphale is in scotland. I watched them all as a single sequence and it's just... SO MUCH.

look. the fact that crowley is cool as a cucumber when aziraphale is around, but when he isn't... well. there's the deep, deep breath he takes while he watches azi drive away, and i can't tell if he's more scared of being alone with gabriel or worried about azi going away alone. because as someone pointed out, aziraphale gets the car keys right after muriel arrives, and obviously it's safer for him to take the bentley which will hopefully keep him safe as it usually keeps crowley safe; but at the same time, crowley has to give up what's basically an extension of him, the one protection he has ready, to shield himself or to run away with, should anything happen while the guardian of the eastern gate aziraphale isn't there.

and then crowley is alone, without aziraphale, without his comfort car, stranded in his favorite place which has ceased being safe and has become instead somewhat inhospitable because his mortal enemy now lives here too. and the way he's wearing no jacket, no waistcoat, and he's just so thin, and snake-like, especially standing there near gabriel, who is built like a tank and you just know that if he's right, if by any chance gabriel became hostile, even in a non-magic fight crowley wouldn't stand a chance.

and yet, AND YET, he's quietly explaining gravity to him, then trying (and failing) to make Maggie and Nina vavoom and also explaining THAT to jim (azi didn't stop to hear his very romantic plan so at least maybe does jim? Can I hear a fucking wahoo?!), and you can't help but feel how badly he needs to talk to someone, anyone nonhuman around who isn't immediately outright hostile, without censoring himself, without complicated feelings in between.

and then, the exact moment later, the temporary peace is broken by gabriel himself remembering something ominous and ONE MOMENT LATER YET shax is outside, complete with background screaming chorus, and then crowley is desperately trying to convince her they don't know where the archangel is, still playing cool but swallowing like that, and then she says Hell will declare war and he's just thrown for a moment and says "to me?!" in THAT voice! but it's even worse than that, because they'll actually declare war not on him but on his friend, and he could maybe cope with hell wanting his scalp (again) but Aziraphale's?! And then STILL keeping that facade and telling her that anyway the angel is inside in the basement, because he knows that Aziraphale is safe while he's inside the bookshop, and therefore trying to keep her off Aziraphale's back while he's outside and alone? Which btw doesn't work because she somehow knows anyway and proceeds on harassing the angel in the bentley the very next time we see him?! AND at the same time he's trying to keep her from realizing he is all alone, here, in the bookshop?!?

And he's been flippant throughout, but the moment she leaves he's like, wreaked?! And his first instinct is of course to go back at being mad and threatening at Jim, but even that feels pointless, because the machine is already in motion, and it's always too late, it's "we're doomed" all over again, isn't it? and the fact that he's shaking all over as he comes to this conclusion?

and then we learn that he hasn't slept all night after this, and as soon as Aziraphale is finally back he's immediately out as if he'd been looking out the window all night waiting for him to be back home safe, and for his car to be available for him to finally feel safe into, and i've seen people wonder why he bolts the fuck out of there as soon as azi is back as if he didn't need a breather after all he's been through, AND THE FACT THAT LATER ON HE TELLS AZIRAPHALE CaN I WaTcH AS IF HE'S AT ALL INTERESTED IN HIM RUNNING ERRANDS ACROSS ALL OF SOHO AND NOT IN FACT UNABLE TO LEAVE AZIRAPHALE'S SIDE NOW THAT HE'S FINALLY BACK AFTER A FULL DAY AWAY DURING WHICH HELL IS APPARENTLY ABOUT TO DECLARE WAR TO HIM SPECIFICALLY WHAT THE FUCK WHAT THE FUCK WHAT THE ABSOLUTE FUCK

anyway what i want to say is this sequence is the epitome of anxiety and claustrophoby for me, and it plays like a horror movie. It's just A Lot

[drconstellation]

Taking Things At Face Value

This post is dedicated to all those Ninas out there, who are "just enjoying the show."

I have been pondering an problem that had come up for a second time in another meta I'm writing (I left it out of an earlier one for clarity) regarding acknowledgement of identity and faces in S2, but when you keep running into the same road-block, you have to tackle it head on. Then I ran into the exact same problem a third time here, and the beginnings of this meta has sat in my drafts file staring at me for several weeks while I've been doing other things. But finally, finally, the answer has come to me, while being kept awake by a passing thunderstorm at 1.30am.

MRS SANDWICH: You're a good lad. CROWLEY: I'm not actually, either. But thank you.

Let's start with this exchange between Crowley and Mrs Sandwich, after Crowley has led all the Whickber St shopkeepers out of the ball to apparent safety. She calls him a "good lad," and he denies it, but thanks her anyway, and gives her a charming smile. We all know Crowley hates being called 'nice' and the last time he did something 'good' he got dragged down to Hell for punishment, so it seems like an odd thing to happen.

But the thing is, while Mrs Sandwich is complimenting his actions, he is responding about his appearance - that is neither 'good' (i.e. he is a demon) or a male human (i.e. he is an supernatural non-gendered entity.)

At this point you might be going "yeah, yeah, we know, we get that! Move along op..." but this matters, as you soon will see. We should also note that neither Crowley or Aziraphale judge Mrs Sandwich for being a brothel madame (how Aziraphale does not know this when her shop is just over the road from his I will never fathom, but there you go) and Crowley is actually quite charming all-round to his parallel character (prostitution and demons going hand-in-hand - er, not literally. But they went out the door as the vanguard arm-in-arm, though.)

The Metatron turning up at the bookshop in person is the next scene on the cards. Firstly, archangel Michael doesn't recognize him, but Saraqael obviously does.

Now, I know I'm guilty of saying that Michael may have had their memory adjusted at some time, but I'm going to suggest something else at this point. Saraqael knows who this is, because they have just had a fresh reminder from watching the recordings of Gabriel with Crowley and Muriel. And Saraqael is a pretty smart angel, so lets give them some leeway on this one. But for Michael, well, they are in the same situation as Aziraphale. They have only seen the Metatron as giant floating head without a body, so don't associate him with this appearance before them, and also because he has a beard.

Just before you jump on me and say "But he had one in the recordings!" yes, yes, I know. Two things, though, I want to bring to your attention: angels are not supposed to have facial hair,* and he doesn't have any in S1 (I checked!) and he also makes the comment "This calls for much less attention, though." Yeah, well a giant head floating through the streets of Soho would be quite a sight, wouldn't it, even though they had already been treated to the view of Gabriel's royal rear-end. Aziraphale had only met him once before, as a giant floating head in S1E4 who had had to introduce himself, so we could surmise this is Michael's problem as well, even though they were at Gabriel's trial. This is backed up by a tumblr ask/answer from NG as well, where he said "I think because they normally see him as a giant floating head, and not as a little man in a raincoat."

MICHAEL: Um, and who are you? METATRON: For Heaven's sake. And I mean that most literally. You don't know me? Well, uh, what about you? Demon? Do you know me?

Demon. That is what the Metatron chooses to call Crowley in that company, and we know in hindsight that he knows Crowley's name - as does Uriel, and Gabriel. Even Muriel learns it. But they don't use it, at least not in S2.

Even more notable is that the archangels don't deign to him give the respect of using his chosen name at all. He's not not even their enemy at this point - he's beneath their notice altogether, even though they are in the same room. Only Aziraphale seems to acknowledge his existence, instinctively trying to reach out to him as he passes by.

To Nina, people are coffee preferences.

To Mrs Sandwich, they are desires that need servicing.

So then question I had, and that stopped me, was why did both Crowley and Gabriel question Beelzebub about their new face?

It stood out to me because you don't normally make an obvious comment about the change of actor for a character, and to do it twice - !! You can't ignore that. No meta writer should ignore that. There is a trope term for this, actually, called "lampshading," which means to intentionally call attention to an incongruent situation within a story before moving on, but in a show where nothing is an accident, this seems a bit trite to me. Eventually I realized that this was the whole crux of the problem to me - that while we all too readily take things at face value, its not the faces that really influence us, its our internal values.

In the case of Beelzebub, Crowley recognizes the demon, their power, and their identity via the flies without any doubt; he merely comments on the change of exterior appearance. In terms of value, he knows straight away he's dealing with someone dangerous, no matter what they look like. Gabriel, on the other hand, is judging the book by its cover, and because he doesn't recognize the new cover, he needs proof of which demon he's dealing with, or maybe if they are even a demon at all.

"Bravo," says Nina, "Just enjoying the show." She's already seen a few that week, not to mention just in the general flow of life as a shop owner involved with customer service. If you've had any sort of life in a customer service role I'm sure you've got a few stories you could tell of things you've seen or experienced as well! I know I can.

The conversation between Nina and Crowley after Aziraphale walks away is amusing for all the assumptions Nina makes about them based on what she's observed that week, but also because Crowley tells the truth every in every reply to Nina, and yet she still has no idea what he's really saying. But her judgements, based on her experience and values, still manage to drop the proverbial ton of bricks on his head so badly he slinks off to sooth himself with some alcohol while he thinks about it instead of catching up with Aziraphale to continue being the angel's nameless shadow.

This problem with judging people on previous experience and not on who they actually are is everywhere in S2.

It's Ennon treating Aziraphale, an angel he's never met before, as a slut.

It's Elspeth judging Aziraphale on his accent.

It's Mrs H. giving a powerful demon a blistering tongue-lashing because she thinks he's a just simple human black marketeer.

It's Crowley refusing to call Gabriel "Jim" because he believes Gabriel is faking it.

...and so on. These are just a few examples. I'm sure you can spot a few more.

Which brings us back around to the meeting of the supernatural Councils in the bookshop in S2E6 and Crowley's "invisibility" to the other angels and demons gathered there. A demon to the archangels, an arch-traitor to the demons, why would they want to acknowledge him? Once he restores Gabriel, he becomes rank-less and faceless to them because they don't need him any more - its basically an act of celestial racism.

Nina and Maggie don't really know any better, they still think Mr Crowley and Mr Fell are just, well, "partners." OK, so maybe they've been doing some weird shit the last few days manipulating things in the neighbourhood but they're still obviously a couple a group of the two of them in their human eyes - and neither do they seem to care that they seem to be mlm, either. No judgement there.

A number of times I've seen ops say they've been watching GO with family members who are seeing it for the first time, and the family member thinks they are just "close friends." Why? Because they haven't seen S2 and the kiss? Because they haven't verbally said "I love you" to each other? Do they really need to say that to prove their feelings for each other? Is that just your values creeping to the fore?

And where did you get your values from?

Sometimes you need to stop and question why you think what you think. I'm not just talking about religious indoctrination. Some expectations put on us by by society at large can be insidious. Expectations around how gender should act, the life purpose of a gender, your worth to society if you don't meet certain unspoken standards, age-related behaviour, social norms around alcohol consumption, the way they dress, what someone eats, the way they eat it, that you must be seen to be productive, or busy...take your pick for whatever is prevalent around you at the moment and for your culture. Just start by noticing, and being aware.

Yes, it is pointless, because demons and angels all come from the same angelic stock. There was a bit of a disagreement at one point and they split into two groups, and judgemental labels got applied to them. They are both still bureaucratic horrors. Which ever side wins the final battle, humans still lose.

Mortal humans all look the same inside, too, if you take their face and skin away and take the societal labels off them. We forget that about ourselves all the time.

There doesn't have to be any wibbly-wobbly timeline stuff going on to explain things. What ever happened to the concept of Occam's Razor? The simplest answer is usually the correct one. And that was what I realized in the middle of the night - the cliche I had used to title this was the answer. It's about being aware of those ingrained, instinctive, judgmental values that you don't realize you've learnt, and looking past the faces that you meet.

*oh lawdy, I'm giving strength to all of you who want to believe he is a demon then, aren't I? But do demons have facial hair either?

[itsscottiesstark]

Here's some of my favorite Crowley on laudanum moments, just because:

1. Death is "just wrONGGG", Crowley said so. No more dying.

2. Because if you don't get high and improvise the unofficial anthem of Scotland (it's canon, Crowley improvised it), what are you even doing with your overly long life?

3. This lil dance is the best, I swear.

4. Reminder, he's looking at a graveyard, at night.

5. Find me someone cuter, I'll wait.

6. It was dark, he was wearing sunglasses, and he was high. Leave him alone.

7. I am petrified.

And bonus points because I will never get over this:

No, don't be shy, get closer.

[aduckwithears]

tfw you invite your boyfriend work acquaintance on a spooky date to a cemetery in Scotland. 😁

[rosalie-starfall]

Shax Good Omens 2

Chapter 3: I Know Where I'm Going featuring the minisode The Resurrectionists

[mylezwuzineffable]

Chapters: 1/? Word Count: 2,044

Rating: General Audiences

In which the author expands upon the flashbacks and minisodes over 6,000 years while an oblivious pair - angel and demon - fall for each- ahem. I mean, saunter vaguely downwards...for each other.

ongoing :))

this one is mine! i’m currently writing a new part based on the garden of eden scene.

[butchtwelfthdoctor]

the minisodes and Aziraphale's understanding of moral grey areas

ok so i was explaining the entire plot of s2 to a friends yesterday, and realised something about the minisodes that is so obvious in retrospect-

in a companion to owls, Aziraphale spends most of the time wondering about what is actually right or wrong and what god really wants and so on - of course, by the end he sees that you can do something 'bad' (like lying to thwart the will of god) and not be entirely a bad person for it - starting to see that moral greys exist, but Crowley has to really really encourage him to do it

in the resurrectionists, the first half he's on 'this is entirely bad', is presented with a grey situation by Crowley (& Dalrymple), but immediately goes straight to 'this is all good' - by the end, he sees that really it was neither (sort of) - but once again, crowley has to really prompt him into seeing the nuance

but, by the end of the 1941 minisode, he says 'well, maybe there is something to be said for shades of grey' - almost completely umprompted by Crowley. he doesn't need convincing, or Crowley to tell him that he can't do bad things cos he's an angel (which Crowley doesn't believe, surely, but he can convince Aziraphale into doing most things by telling him that), he just. accepts the moral grey of everything that just happened. (and presumably apologises for making Crowley shoot at him. or something. he does the dance at least)

this is showing the progression in Aziraphale's character - he goes from being fully convinced he'll become a demon for lying one (1) time to save the lives of children, to at least trying to see how something as initially 'completely bad' as bodysnatching can be an attempt to, in his words, 'alleviate human suffering' (good, even if he missed the point), to being able to say that he, an angel, can do things that aren't purely good. seemingly without any major anxiety over it either. and largely unprompted.

his character is not fully developed yet, and he's still pinging wildly between viewing everything as good/bad heaven/hell demons/angels, and moral greys, nuance, and 'our side'. but he is getting there. slowly.