#there are a lot of parallels to Good Omens in this episode

[vidavalor]

I was wondering if you've talked about why Gabriel was on a jog in season 1 episode 4. It always felt off to me since it's such a human activity

Hi @anxious-al! 💕 Hope you're having a nice week so far. *gets the mugs* as there's always hot chocolate available for Gabriel-themed questions. 😊

What a time to be going for a "human" jog, eh? This takes place on the morning of The Last Day of The World:

Gabriel is supposed to destroy this planet later that day and he's down on it, alone, jogging in the park... why?... and what of the human woman dressed as an angel at the edge of the park?

The scene wherein Aziraphale interrupts Gabriel on a morning run in the park begins with one of the strangest moments in the series-- Aziraphale being distracted by a human woman dressed in head-to-toe gold with harp-like angel wings. She is a performance artist and her art is that she is dressed as an angel. She stands there, silent, sending her artistic message for both the characters in the story who notice her and for us as the audience to interpret. This makes her a bit meta for the story of Good Omens as a whole.

What message is The Angel Woman saying to her fellow humans with this? is a question that leads us to another one as a result:

What is Good Omens saying by using angels and demons in their story written for us humans?

Perhaps that there is divinity in humanity? Perhaps that we spend all this time glorifying holy beings that we can't prove even exist when, really, we humans embody the angelic and the demonic and everything in between? That we're really the magical ones?

The Angel Woman is a character in a story written by humans who are using angels and demons to make points about human living... and who are the other characters in this scene? Gabriel and Aziraphale... a pair of angels on Earth and who are both engaged in aspects of what they might see as "human" living.

This scene is one in the story pointing out that "human living" is really just living, period.

Aziraphale stops and contemplates the angel-dressed performance artist and that is the start of the scene. The "human cosplaying" Gabriel then jogs by them-- paralleling both the angel who lives like a human and the human who is dressed as an angel. Here's The Supreme Archangel of Heaven on the last morning on Earth and what is he doing?

He's jogging in the park. Like a human.

The episode is called "Saturday Morning Funtime" and has more Gabriel in its front half than any episode prior to it, as we begin to see that he's actually who it's named for. Everyone is miserable ahead of Armageddon but the one who has a Saturday Morning Funtime routine is Gabriel. This guy who is the commander of the armed forces of Heaven and entrapped by a supernatural fascist regime hellbent on destroying this place?

Yeah, he secretly kinda loves Earth.

Gabriel is keeping himself from going mad by carving out some escape time on Earth where he does some moderate exercise in the fresh air and clears his head. No one knows who he is down there. He's just another hot dude running in the park. It gets him away from the other angels always circling him like vultures and gives him some precious alone time.

There are other scenes that indicate that, as Earth has gone on, Gabriel has been using the power of his position to escape to it from time to time. Gabriel's only possessions until S2 are his custom-tailored clothes and they were made on Earth. He shows a curiosity about how Aziraphale chooses to live in the sushi scene in 1.01. Yes, he's judgy about it but he's judgy to hide the fact that he's asking out of interest-- rather than using the power he has to order Aziraphale not to make his own choices over it.

Gabriel is shown to be a lot more "live and let live" than he might initially seem to be. He is one of the only angels who doesn't view the demons as beneath them and he covers for Michael's relationships with them. Several scenes suggest pretty heavily that he's known about Crowley and Aziraphale for ages and has been keeping that knowledge from The Metatron. He doesn't care that Aziraphale does human things on Earth like eating or that he wants to live a more human-like existence. He doesn't totally understand all aspects of it but that doesn't stop him from being more fundamentally curious about it than anything else.

Gabriel actually doesn't care that Aziraphale's in love with Crowley. Gabriel can get the appeal, actually. Gabriel knows how it goes anyway... he's got a bit of a thing for the "informant" he references to Aziraphale in 1.01-- Lord Beezlebub, the only being he feels like he really be anything close to his true self around, who also happens to be a demon. The demons are supposed to be the angels' mortal enemies but Gabriel thinks that's kind of bullshit. They're just people and he remembers what a lot of them were like before Hell became a thing. They were smart, creative people, most of whom did little wrong but for asking the same questions that Gabriel privately asks himself daily.

So, he's been coming down to Earth to check it out for awhile, when he can come up with an excuse to escape his prison. Sometime pre-S1, he started to do more than observe and basically got himself a hobby in jogging, like a human might do. Something for him and him alone. This is a big deal because Gabriel has virtually nothing else that is own.

Gabriel doesn't own a single, non-clothing material object in S1 and never has at this point. The first present he'll ever be given is the fly in the matchbox from Beez. His clothes are his only possessions, which is partially why he's so vain about them. They are the only way he's allowed to express a sense of individuality in Heaven-- and he made that happen.

This is related to the jogging and is a much, much bigger deal than it might initially seem...

In S2, when we go back to the Job minisode era, we see that all of the angels used to dress in, more-or-less, the same thing. They all look like what they are-- members of a cult. Even The Supreme Archangel is wearing basically a white sheet roped off in gold. The homogeneity of the look is the point.

There's a psychological reason why cults of all sorts-- and armies of all sorts-- have an uniform. It's to reinforce a sense of negative groupthink over a sense of individuality. When you are allowed to dress as you wish, you have freedom of expression, and this obviously causes you to consider how you wish to express yourself to others. It gives you the free reign we all should have to be who we are-- and to be able to consider who that is and evolve our sense of self over time. This is absolutely against the mindset of dictatorships and cults and anything in that vein.

The last thing they want is for people to see themselves as individual people because that stuff gets dangerous. They might get ideas. They might form their own opinions and start to act on them. It makes people harder to control. This is why Gabriel and his clothes are so important.

The only way the whole 'everyone is basically wearing a table cloth' situation changed for the angels sometime post-Job is if The Supreme Archangel okayed it. He's the only one with just enough power to have made this happen, if not enough power to overthrow The Metatron on his own. Gabriel saw Aziraphale begin to wear different things on Earth with the built-in excuse of Aziraphale having to blend in with the humans and white robes were no longer a style that would work.

Aziraphale, as a result, became the first angel to have an excuse to express himself as an individual because he got to choose what he'd like to wear while he was on Earth. Gabriel noted this and basically said to himself that looks fun. Our dude was very tired of this white robe situation and seeing Aziraphale get to play made Gabriel want to as well so he went to Aziraphale at some point and basically said teach me about what the humans are doing about clothes.

Gabriel had an excuse to change his look, too-- he'd have to go to Earth sometimes to do Supreme Archangel Checking Up On Stuff Things. He'd have to look like a human, too. He loved it. Playing human dress up was super fun and brought all new kinds of thoughts. What fabrics he liked, what looks he liked, what he thought about how the different clothes looked on him, what made him feel different ways about himself. Clothes are self-expression, after all-- they reflect how we feel about ourselves and support the image we are trying to project. Gabriel got into this, big-time, and then turned around and asked the dangerous question to himself:

What if we did this in Heaven, too?

What if he used what power he had to change the rules about what the angels wore? What if he told everyone they could wear whatever they wanted? The army would still have an uniform for when they were running drills or whatever and maybe there'd be a color-scheme because Gabriel knew The Metatron was going to lose it about this so he came up with some parameters but he basically overthrew the tablecloth tyranny and told every other angel that they were free to express themselves the way they wanted and, if you ask me? That's why he and The Metatron are snarking about Gabriel's suit during his trial.

The Metatron never got over the fact that Gabriel pushed the clothes thing and knew how to get just enough of what he could without making it more trouble than it was worth to kill him over it. The Metatron takes some evil delight in telling Gabriel that "appropriate raiment" will be provided for him-- he'll have to wear what The Metatron dictates, in other words-- now that he'll be a bottom-of-the-barrel junior recording analyst. Gabriel, though?

He got the last laugh. He used taking off his suit as a reason to leave, along with clearing out his non-existent desk, and fled Heaven buck ass naked rather than put up with The Metatron's bullshit for another minute.

The moment Crowley fell in love with Gabriel was when he saw just how much Gabriel loathes The Metatron in these just take me out back and shoot me ffs faces he was making during his trial:

Anyway, the point is that all the angels are following Gabriel's lead and that's probably half the reason why almost everyone in Heaven dresses in a variation of Aziraphale or Gabriel's styles. (Ever notice how Michael and Uriel look like they're in some kind of suit battle and both of them are trying to emulate Gabriel a bit?) While many of the angels aren't really reinventing the rules of fashion up there, the idea worked: they all look different from one another. They all can express themselves as they desire when it comes to how they look. They've all had to think about themselves for at least long enough as it takes to come up with outfits and view themselves as an individual person to do so.

It's perhaps worth noting in here then, too, how funny it is that The Metatron is a floating head... that's how he presents himself. He's the one character who doesn't have a body. It's symbolic of how he feels he's above even the idea of having anything like the pesky needs of human corporation. The ideal of Heaven is him, in his eyes, and he is above the vessel through which all living beings actually live...

...and the one challenging him every step of the way as much as he can is The Supreme Archangel...

...who, amusingly, happens to have a rather pleasing physical corporation appreciated by many, many different sorts of beings.

Looked at that way? Gabriel's peacocking about his clothes is not pure vanity but just the best example of what little rebellious fires he's been able to start Up there. A focus on clothes is also a focus on your body-- for better or worse-- and so it's not really surprising that Gabriel's Earthly hobby is looking goooood in some grey sweatpants while he escapes a little from the pressures of his world.

There's something kind of delicious about Gabriel deciding that he has some Saturday Morning Funtime now-- he has an exercise routine. He's like peace out, MetaT-- I'm going to take my fantastic corporation *jogging*. Rot in Hell, you fascist Mr. Potato Head...

Aziraphale is interruping Gabriel's alone time in 1.04 and if you look closely, you'll notice that Gabriel actually looks upset as he's running before Aziraphale sees him. He doesn't actually want to destroy Earth. He feels he has no choice and he's terrified of The Metatron but he likes Earth. He doesn't fully understand of it-- to be fair to him, no one really does lol-- but he likes it enough to have been escaping to it for awhile now.

By S2, in a parallel scene to the jogging one, Aziraphale will be beginning to get the idea of him and Gabriel both having versions of the Heaven-induced perfectionism and anxiety a bit more, though... and about how that's not any different from humans who go through the same thing.

The angel human doing performance art (complete with foreshadowing the discus halo) in S1:

The art of the Gabriel statue in Edinburgh in S2:

In S2, the art is a human-made sculpture deitifying Gabriel. It causes Aziraphale to further consider what life might have been like for a being who is, really, just some dude, but who has been held up as a holy symbol in this way by angels and humans alike.

Adding to this is that the statue of Gabriel is in the middle of a human graveyard. While this has a really eerie layer in S2 considering that we see it after Gabriel has fallen, which is a kind of death, and now lives among the humans, there's a way of looking at it that is also in keeping with what S1's human performance artist angel was talking about-- there's not this big line between these kind of beings.

Emphasizing this? The Angel Woman isn't just dressed as an angel-- she is also wearing a dress and a human sun hat. She reflects how having a halo hanging over your head symbolizing your need to be perfect in a way that causes you to see yourself as someone who should be above humans is not just an angelic thing-- it's a very human thing, too. That's the point of these angels and demons in Good Omens. They're just like us in every way that really matters and their stories are no different at the core from what we experience.

Crowley and Aziraphale actually have it a lot better than most of the angels and demons. They have been able to live on Earth since the beginning. They aren't completely free of the regime that threatens them but they've found a way of escaping it as much as they can. They've been free to learn and explore and experiment and enjoy much more than the others have. They've been free to have a relationship with one another-- to have a friend they can trust and talk to-- which not all of the angels and demons do. (Not all humans do, either.) Of all of the less fortunate characters? Gabriel, despite having some power in Heaven, might have actually been one of the worst off.

Why is Gabriel jogging in the park on the morning of the last day of Earth? Because Gabriel likes to go for solo jogs in the park...

... just like many humans who have stressful jobs and like to wake up on Saturday morning and throw on a sweatsuit and sneakers and get outside to get some fresh air, move, and try to quiet their thoughts.

That Gabriel is already in this place in S1 is a surprising twist thrown into 1.04 that actually makes us kind of want to scream at Aziraphale 'ask him why he's fucking jogging, Az!' Aziraphale is trying to make the point that they don't need to destroy Earth but the one thing he fails to point out is that Earth is the planet that they're currently both standing on and which Gabriel seems to really be enjoying.

Gabriel couldn't agree with Aziraphale in the jogging scene, though, even if he wanted to, for the most ironic reason possible. This one:

Crowley and Aziraphale don't realize it because they're afraid of Gabriel until S2 but he's as trapped as they are. He's as watched as they are. Ducks have ears-- there's always someone listening in the fascist regime of this Heaven/Hell system. Gabriel couldn't say in a public park anything that sounds outside of what he's supposed to say, even if he wanted to, or he'd be in danger for it.

Gabriel is wearing human clothes that are appropriate to the time period he's in while he's jogging. He has a preferred park and route. He's gone through a whole thing to get to this point-- seeing this activity, learning about its benefits, deeming it appealing and something he'd like to try, getting what he needs to do it, finding a time to do so, trying it out and getting good at it... he's done all this already by this scene, showing that he's already subtly rebelling.

There is also that a lot of humans jog, at least in part, to manage mental health issues. It's prescriptive for depression and when we see Gabriel in the post-S1/pre-S2-set flashbacks, he's exhibiting signs that would have gotten him instantly diagnosed with depression had he been a human. It was not new-- more like his default state-- before talking more intimately with Beez started to help him manage it.

This might indicate that Gabriel was already in a place pre-S1 where he viewed humans as having knowledge that could benefit him and other angels-- a point of view that Crowley and Aziraphale also share. To get there, he'd have to have stopped seeing himself as superior to humans-- if he ever did in the first place, which isn't really known. Gabriel does show a surprising aptitude for subversive thinking so it's possible he never really bought the idea that they were superior beings but, even if he did, he doesn't by sometime prior to S1 because the human activity he's gotten for a hobby is one known for helping humans manage the anxiety and stress he knows he also feels.

It's also an activity that Gabriel can get away with doing because it's physical and he's The Commander of The Heavenly Host, Heaven's armed forces. No one can question why he wants to go to Earth to work out because it seems like he's just a devoted soldier when, really, he's doing it to get away from everything for a bit. Jogging gives him time and space to think and to be alone, away from Heaven. It's peaceful when he knows precious little peace. He's also quite literally running from Heaven lol and this was already happening for awhile before S1 happened, let alone S2.

You might say: ok, but Gabriel doesn't *need* to jog... he's magical!

Yes, he's magical... which seems to be like having an extra-long, somewhat-eternal backup battery. It doesn't actually mean that Gabriel doesn't need to exercise. Living beings can go a surprisingly long time repressed from what it is that they need to survive and being magical is suggested to have caused some of these angels and demons to remain alive so long without what it is that they truly need to thrive as people that they've convinced themselves that they don't actually need these things.

Sure, the angels and demons have superhuman powers but they are also very human at the same time...

In S2, Gabriel will describe having what we might call human physical sensations on his way to the bookshop. His arms got sore from holding a box at a weird angle for awhile on his walk-- just like ours would. He was cold from being naked until Aziraphale gave him a blanket. Aziraphale was winded trying to jog with him in this scene in S1. Crowley has basically developed a human sleep schedule over the years to a point that while he can survive missing a night of sleep, he feels the effects of it, as he was mentioning in S2.

To say that these characters being magical means that they're "flawless" would be to get a little "master race" gross, right? And the show does not. The angels and demons have human corporations in all shapes and sizes. Human corporations are just one option for them, even if also the most common, and those options are not built to be without any challenges-- they're built to be human.

Crowley, for instance, is basically a god in terms of power and he's also canonically far-sighted. He built the known universe but he also can't read the paper you just put in front of his eyes without his reading glasses. He can make it rain with his fingertips... and he also has an anxiety disorder. All of this is a story that is using angels and demons as metaphors for human living. We humans have more power than we think, as shown through how the magical angels and demons in the story are more "human" than many of them have been led to believe.

All of the angels and demons might not be at risk from most major human disease, for example... but that's if you're talking about things like Covid and bubonic plague... not if you're talking about the most common ailments plaguing humanity. The major supernatural characters in this story have things like anxiety disorders, depression, and PTSD. Many of them have complicated relationships with food and insecurities about their corporations. They deal with issues of loneliness and the effects of different kinds of trauma and abuse. Every one of them has trust issues for days. Aside from the main four, most of the angels and demons have no idea how hungry, tired, lonely and unfulfilled they are because they think they aren't actually supposed to want things like food, rest, creative outlets, and friendship. If they do feel a desire for these things, they think there's something wrong with them because they've been told they not to want or need in this way.

The few of the angels and demons that can get beyond the b.s. they've been taught and consider that they might not be superior to humans and might have some things in common with them? They break through and start to learn from humans.

Even though they both see each themselves as not fully human and as basically living amongst-- rather than with-- the humans, both Crowley and Aziraphale have experienced enough of the world to know that they're not terribly different from humans. They don't see a lot of their own challenges and experiences as different from that of humans and they actively seek out human knowledge and thoughts on how to manage their way through life. They recognize that their full range of emotions is not any different from that of the humans-- whether the emotions in question are the love they feel for one another or something they have to deal with, like anxiety.

As we see in S2, the choice of corporation for a supernatural being can have consequences that can affect them as a whole. Yes, these beings are more protected than humans, as they can morph into whatever they want and they have miracles that they can use to protect themselves in most situations... but they can actually die if they get into a situation dangerous to them enough, like what The Bullet Catch could have been.

Furfur said that if Crowley had missed and Aziraphale had been shot in the head, that "they might not have been able to put him together again"-- meaning, that Aziraphale could have actually died from a bullet to the head... just like how humans can. While in human form, the angels and demons' minds really are contained within their brains, like is the case with humans. Supernatural beings have a mind-body connection to their corporations of choice-- just as we do with our bodies-- and they're basically all out here choosing human bodies as a default option, right? So, how different are they from us, really? Not that much.

This would mean that their corporations do need the same things that human bodies do. The difference is that, being magical, they can go for eons without addressing these needs, whereas most of us who are only human over here get hangry after four hours without a snack and need to sleep for several hours every day in order to function.

They do need to breathe to be healthy, if not to completely stay alive, because their corporations prefer oxygen and breathing causes the human body to function properly. They can go for millennia without eating... but that doesn't at all mean that they should. When they finally do, they can eat an entire ox without a second thought and why? Because they're starving. They can magically last an absurd amount of time in their repression but they're unnecessarily suffering in doing so.

Crowley and Aziraphale know this. They've learned it themselves. That's why they're giving out warm beverages and sarcastic masturbation tutorials to whatever interested supernatural beings shows up at the door for much of S2.

This is Gabriel's office, shown to us moments after his jog in the park:

That is where he's spent thousands of years. This is his office and what counts as his home. This dude doesn't even have a chair. Look at how huge that space is and how small he seems in it. He can't go out on that balcony. This isn't an office or a house so much as it's a prison cell. This scene shows us why he jogs in the park-- it's his time in the yard during his prison sentence, basically.

Look at how we and Michael come into the scene and see that Gabriel is just staring out the window at the world, tapping his finger against his mouth, lost in thought. This is not a being who is super jazzed to destroy this place later in the day. He's up there like a damn fairy tale princess, trapped in a glass tower in the sky, looking down at the human world and wondering why it is that it's only humans can have it when they really don't seem that different from the angels and demons.

All of us humans with terrible jobs and other stressful situations can usually find a way out of it, except for maybe those of us trapped in an active war zone. What do we humans do? We sleep, we shower, we do some yoga or meditate, we enjoy stories, we make art, we have some good food, we find things that make us laugh and share them with friends and loved ones. Some of us also seek other kinds of connection as well-- a sexual and/or romantic partner. S2 shows us that Gabriel is not aromantic, as he's fallen in love with Beez-- which just emphasizes that, for thousands of years, this sort of thing was never an option for him and another need that was not being met.

Michael is correct in S2 that Gabriel doesn't have a desk to clean out. He has a single, white pedestal without any drawers onto which the occasional file folder can be placed if someone has a meeting with him. (One wonders if Heaven only even has physical file folders as an excuse to have the occasional barely-there table just to break up the expanse of empty space to keep them all from going mad.) Aside from his clothes, he does not possess a single material object, as he's not allowed to.

Imagine not owning a single book. Not having a favorite blanket. Not having a favorite mug. Not having lost these things but having never had them before at all. No presents because you have no friends. The first person to ever give Gabriel something is Beez and that hasn't happened by this point in the story.

We know Aziraphale understands this. Aziraphale wanted a home with a door he could lock and privacy enough to try to live a life of sorts with his partner and a place to store the material objects that he owns. His own, cluttered desk with a million little nooks and shelves. A chair, books, a bed he can be in with Crowley without Head Office finding out and killing them for it. That's the genius bookshop embassy that Gabriel will run to when he finally cracks but Gabriel himself?

He's had almost none of that kind of freedom for himself.

Aziraphale knows what it is to have nothing of your own and that's why he gives Gabriel his angel mug. He's literally writing Jim's name on everything that Jim owns because he knows that while it's not about material objects, Gabriel doesn't have anything of his own. It's about choice-- down here on Earth, Gabriel can choose to call himself something different. He can have a more peaceful and satisfying job and books to read and a favorite drink and a mug of his own and friends to talk to. He can try the hot chocolate and the tiny dinners if he wants without anyone judging him or trying to kill him for it. He can be free to be his own person on Earth.

Consider the contrasting shots of Gabriel in 1.04, shown staring out the window of his prison walls at the Earth he was supposed to destroy... and Jim waking up on Earth, in cozy pajamas, to look out the window of the bookshop while making himself a warm, morning drink in his own mug.

Kind of makes you want to hug him, doesn't it?

Back in 1.04, though? The scene in Gabriel's office showed us what he's up against Up there and just how isolated he is at that time. Michael is the one angel you'd think he'd be able to trust, as they've been through it together for thousands of years, but we see very clearly why Gabriel does not trust them.

Michael is a hypocrite. They talk to the demons unofficially and Gabriel has been protecting them for it from The Metatron. Yet, at the first opportunity, Michael throws Aziraphale under the bus by reporting him for doing the very same thing they are. After S2, we see that this is also a swipe at Gabriel himself-- Michael knows that Gabriel knows about Crowley and Aziraphale and has never done anything about it, even though he "should" by the rules of Heaven. This isn't just Michael selling out Aziraphale-- it's Michael taking a shot at Gabriel himself. It's a reminder that there's always someone who seeks favor with The Metatron watching and Gabriel is completely trapped-- more so, even, than Crowley & Aziraphale.

He doesn't have any choice but to tell Michael that they can pursue it but he's gloriously bitchy about all of it. He doesn't so much as blink in telling Michael that he's sure there's "a perfectly innocent explanation"-- meaning: sure, go ahead, take a shot, but I am in charge and I will continue to be doing fuck all about Aziraphale boffing Bildad the Shuite, Michael.

He also is sly as all hell when he reminds them that "there are no back channels"-- by 'back channels', you mean you're calling your demon boyfriend, have I got that right, Michael? The one I happily pretend you don't have? God, you're awful...

Michael wants Gabriel's job and the brownie points with The Metatron so they're pursuing Aziraphale to show that they're willing to go after subversive angels and they're threatening Gabriel with exposing that he's known for ages about Aziraphale and did nothing-- which makes him an accessory to it. Gabriel has no other choice but to tell Michael to keep pursuing it but it's an example of how the wolves are always circling for Gabriel and how trapped he really is. His only defense is his you're going to regret fucking with me attitude.

As Michael leaves, the scene ends on Gabriel picking up one of the pictures of Crowley and Aziraphale. He's drawn to the one of them sitting together where?

Where Gabriel himself just was.

In the park.

What would it be like to live like they do? he seems to be wondering, for probably the millionth time. How much longer am I going to be able to keep them alive? Am I going to go down with them?

Nah. It's their turn now, Gabriel...

[noneorother]

All the music you didn’t hear: The Good Omens soundtrack is lying to you. *Part 1*

The Bonkers Meta Series part 2: Electric Boogaloo.

I so rarely get a chance to misuse my experience in classical music, but here we are. When I realized on my most recent watch-through of the series that the David Arnold score was brilliant, but also really wonky in some parts and I couldn’t put my finger on why, @embracing-the-ineffable suggested I listen to the album soundtrack to compare.

And when I tell you what I found hidden in there, you’re going to need Eccles cakes...

1) The Song is the Clue

So right up top we have this banger. The 12th track on the album is the orchestral backdrop to the scene in the Job minisode where Aziraphale reveals Crowley’s crow/goats. The duration is 2:22 (the only track with multiples on the album), and if you look at the track by itself it doesn’t mean much. But the song just before it is actually from this fucking scene:

You know, the one where there’s a song that’s a clue to a mystery. Except Clue is capitalised, and Aziraphale pronounces it. I’ve seen guesses that this is a reference to the movie Clue, but I would put a lot of money on the fact that we are supposed to read the title of the song currently playing at that moment in the show *as a Clue*, which is super convenient, because the word Clue is capitalized in the track listing. 

Seems like the overlords of Good Omens have a message for us : The song is the Clue. It’s what God wants. Cool cool cool. WHAT SONG?

2) Symmetry in all things 

Before I straight up tell you, we have to go back and look at season 1.

Now I’m far from the first to notice tons of parallels between the story, details and even lines in both seasons. It got me thinking that maybe there are some fun synch-up parallels between the two season’s soundtracks, seeing as they are both 6 episodes long. Here’s the end of S1 and then S2

Oh that’s a bummer, I thought to myself. 

They don’t even add up to the same number, or playtime, and neither of them is exactly 60 tracks. But do you want to hear a secret? S2 is actually missing 3 tracks on the album. And because there are 2 discs in S2 (cute), the numbers of the tracks start over again from 1. Remember how much God likes sevens? Check out where all the weirdness is happening in disc 2 (I’ve added the missing track listings in red to add context):

After checking each track with the show and listening side by side (for reasons that will become clear in another post) I can definitively say that there is something *very weird* going on at the end of episode 4. 

First is track 7, Zombie dressing room, which seems to actually reach over two distinct scenes of the photo evidence in the dressing room and then Shax in hell even though it only has one title.

But *between* these two scenes we get an eerily silent wine date with Aziraphale & Crowley.

There’s really no music or even sound here besides the dialogue and room tone (until after the cheers), and it seems like a very intentionally silent version of a ritz date from season 1.

My best guess is that we are supposed to divide that track into two tracks of 7, before and after the date to get a second track 7. Or maybe the silent one is missing music? The third track number 7 is the weirdest one. It’s this scene here, when Nina parks her bike, and Aziraphale parks the car at the end of S2E4.

If you take a close listen to the music, it’s a jaunty little piece, with an oom-pah base in 3 ⁄ 4 time. The thing is, this music does not exist in any Good Omens album. Please feel free to correct me, but I’ve tried to find any part of any song that this could even be a reprise of, and I Shazammed it to be sure it wasn’t anything else. This song does not exist anywhere except in this scene. (It quickly morphs into a reprise of the original theme once Nina leaves Aziraphale). It’s an invisible song.

So we have 3 tracks at the end of S2E4: a long one, a silent one and an invisible one. Only one of which is numbered 7, but that all fit into that place in the track listing.

Which, when we add the two extras to the original total of fifty-nine we get... sixty-one! Hey wait a minute.

How are we going to get to 62?

3) The real missing track. 

So the real reason we had to go back to the S1 album was because it contains the missing track that God is talking about. Let’s compare the last tracks on each album.

I’ve highlighted the mismatch between the in-show music and the album in S2, which means I had to add A Nightingale Sang in Berkeley Square back into the S2 album because guess what, it’s not in the S2 album. Even though it plays in the show. 

You want to know how not in the album it is? Amazon had to track it in the show as a season 1 song. They had to give Tori Amos credit for her song on Good Omens in the X-ray bonus features because that’s how not in the album this song is.

So my fellow beings, if the song is the Clue, then It’s what God Wants.

And if God wants a happily ever after with Aziraphale and Crowley on their own side, then by Job, I think Neil is going to give it to her.

-----------

And there's more where that came from! Part 2 coming shortly.

[qqueenofhades]

Good Omens Season 2: Some Thoughts (and also Screaming)

First, /screams

Second, obligatory disclaimer that this meta contains MAJOR SPOILERS for all six episodes. If you somehow have managed to remain virginally unspoiled, look away now, scroll past, or add "good omens s2" and "good omens spoilers" to your block list, as those are the tags I have been using for all posts and reblogs.

Third, /screams more

Okay okay okay. Deep breaths.

Anyway, so, uh, how about all that, huh? First, the good thing about the tone of the season overall was that it felt considerably darker and more adult, in a good way. We didn't have the precocious kiddies, the kitsch and literally-comphet Anathema and Newt, the so-clever narration, etc. All that was gone, which makes sense when you consider that a) the end of last season saw them reboot into an entirely new universe, and b) the fact that God has gone silent is, in fact, a major plot point for the season. We don't have Her slyly telling us the story, or indeed anything, and everyone is left to make their own judgments and take their own actions. Which, obviously, gets them into a lot of trouble, especially when Metatron (the Voice of God, aka someone acting in the belief that they're speaking for God and therefore doing terrible harm) swoops in with the ultimate buzzkill at the end of episode 6. But we'll get to that.

The downside was that the main, present-day plot (hiding Gabriel in the bookshop and trying to get Nina and Maggie to fall in love) was fairly thin, felt stretched out and at times weirdly paced, and otherwise existed mostly to get us to That Ending and the setup for season 3. But the ending was so damn good (if obviously, very painful) that I can't be TOO mad, not least because we spent six episodes with them just making absolutely no pretense about the whole thing being as incredibly homosexual as possible. I'll be honest: I did not think they were going to actually, explicitly go there. Neil Gaiman has been so consistent about "your interpretations are valid and you're welcome to read it however you want, but the only canon is what's on screen," which I think is frankly a good thing (not least since the Neil GAYman Cinematic Universe is consistently very, very good to us queers), that I just... didn't quite think they'd pull the trigger. Sir Terry is dead and can't have active input, this is based on a book published 30 years ago, maybe they didn't want to make it LIKE THAT... etc. I certainly hoped, but I didn't really think they would.

Uh. Well.

As I said in my various semi-coherent liveblog posts, I honestly don't think there was a single straight person in the entire season, among both major and background characters. Aziraphale/Crowley and Maggie/Nina are the obvious paralleling couples, but Beelzebub (using "they" pronouns and addressed as "Lord" despite presenting as femme/femme-adjacent) is clearly nonbinary and therefore also queer, and the countless gay/queer side characters were just /chefs kiss. From Job's son making a sassy pass at Aziraphale, to the random Scottish goon with Grindr on his phone (which he then gives to Aziraphale, because what is subtlety), to the interracial couple with the trans spouse at the Pride and Prejudice ball, there was just a lot of casual, unremarked, non-story-critical queer representation visible at every turn. It's like the NGCU saw the bigots wailing about Sandman season 1 being extremely gay and went CHALLENGE ACCEPTED, LET'S MAKE GOOD OMENS 2 EVEN MORE GAY.

God bless.

Obviously, Jon Hamm as Amnesia!Gabriel stole the show (he was SO fucking funny) and it was also incredibly fun to watch Miranda Richardson repurposed as a scheming demon. Nina Sosanya also reappeared as Nina the coffee shop owner, which leads us into the Maggie-and-Nina subplot. They're obviously, wildly, incredibly clearly an analogue for Aziraphale and Crowley themselves, but they're also each, crucially, a mix of both. On the surface, Maggie is Aziraphale: the plump, blonde, earnest, sweet-natured one owning a slightly dated book music shop and somewhat clueless about emotional nuances, while Nina is (also on the surface) Crowley, the hard-edged dark loner who doesn't want to open herself up to people or be spotted caring. But emotionally, Maggie is Crowley: the one openly pining, clearly besotted, only wanting to hang around their crush and do whatever they can to make themselves useful, while Nina is Aziraphale. Interested but reticent, attracted but conflicted, trapped in an abusive relationship with a demanding offscreen "lover" (Lindsay/Heaven) who tries to constantly control and shame them without ever offering much, if anything in return. By the end, they bring themselves around to what Maggie/Crowley are offering, but by then, well. We've got a lot more problems on our hands.

As I also said in my earlier posts, this entire thing has always been a metaphor for religion, queerness, and what religion -- especially abusive, fundamentalist, organized religion -- does to queer people, but they really cranked the FUCK out of that metaphor this season. Aziraphale is guilt-tripped, controlled, and shamed for his attraction to Crowley at every turn. He is torn between his imagined duty to Heaven, in all its ignorant, uncaring, bureaucratic, gratuitously cruel system that he still insists on seeing the best in because he can't bear the alternative, and the chaotic and sometimes grey but genuinely more good morality that Crowley offers him. (Can I just say, we were explicitly shown that the two of them together doing "just a little miracle" are more powerful than Heaven AND Hell combined.) And at the end, he's told that the only way he can be with Crowley -- what Metatron explicitly blackmails him with -- is if they both go back to heaven, submit themselves to the cruel system again and give up everything that has made them who they are: their home in London, their human friends, their reliance on each other, their independence, their own ways of doing things. You can be queer in this (religious) framework, but only the limited, watered-down, controlled, controllable, constantly-under-supervision kind of queer, which relies on both you and your lover "converting" back to the true faith. And if you don't cooperate, they will literally kidnap you, lie to you, manipulate you, take you from your soulmate, and force you right back into doing the one thing (destroying the world) that you never, ever wanted to do in the first place, because in their minds, that is still better than this. It's for your own good.

Ouch.

And the thing is: that's why the ending a) hits so hard and b) is so fucking painful, because of course Aziraphale agrees. He has no conception of being able to defy Heaven on his own; he has always, always needed Crowley for that. In the flashbacks, when Aziraphale is faced with an order from Heaven that he desperately does not want to carry out (such as letting all Job's children get killed), he still relies completely on Crowley to "outsmart the rules" and find a better way. Crowley is A Crafty Demon; that's what he does, and so Aziraphale rationalizes it to himself that therefore that must be fine. Even in season 1, when he really didn't want the Apocalypse to happen but initially thought it was his duty as a good Heaven footsoldier, he relied on Crowley to talk him out of it and allow him to do what he really wants instead. That's their whole dynamic in a nutshell, as exemplified in that scene in episode 2, where Crowley tempts Aziraphale with the "pleasures of the flesh" while sprawled on his back in Ravish Me mode like the giant walking gay disaster that he is. (Sorry, buddy. That beard. Can't do it.) Everything that Aziraphale's existence is, that makes him who he is, that he loves and cherishes the most (in this case, food and wine) comes from Crowley. Everything else is just background noise.

Throughout the season, what we see is Aziraphale increasingly coming around to the fantasy of being with Crowley. He's coy and flirty; he talks about "our car" and expects Crowley will let him (which he does); he wants to have a Jane Austen ball and for them to dance together (oh my heart); he even thinks, at the crucial moment, that the best way for them to be together is to go back to heaven just like they were in the beginning, once more perfect angels, as if those entire six thousand years of struggle and grief and pining and separation and falling didn't happen. And Crowley -- poor, poor, brave, devoted, heartbroken Crowley -- has just heard for the first time in said six thousand years that actually telling the person you love how you feel is an option. Maggie and Nina tell them point-blank that their whole stupid plan failed because people aren't chess pieces who can be moved and automatically achieve the desired result. And of course this gobsmacks the dearest and dumbest Ineffable Husbands, because they can't conceive of anything else. People are chess pieces in the Great War of Heaven and Hell; Aziraphale and Crowley themselves are chess pieces who have been desperately trying to get out of being moved by external forces, but that doesn't change the fact that that's what they are. They don't have volition or agency aside from that which they can sneak for themselves in brief and stolen moments. That's it.

Until, well. It's not it. They discover that this whole would-be war is actually an elaborate ruse to cover up another angel-demon romance, that of Gabriel and Beelzebub. (I'll be honest, I'm 99% sure they did this storyline because they saw the fans crackshipping them, but I appreciate a fictional narrative that values and incorporates its fans' input, rather than trying to constantly "trick" or "outsmart" them or "do what they don't expect.") And Gabriel and Beelzebub get to be together, but only by leaving their world forever. They have to desert their homes, their structures, even their own identities, and never return. And Crowley and Aziraphale are so rooted in their "precious, perfect, fragile" life in their little corner of Soho, with their bookshop and their Bentley and their dining at the Ritz (which they didn't get to do in the end because METATRON /shakes fist), that that just doesn't work. Neither of them can conceive of doing that. So Aziraphale thinks "go back to heaven and try to make the terrible system do some good and take what we can in terms of being together" and Crowley just... pours out his heart. He's ready to fucking propose. He barely stops himself from saying something to the effect of "I want to spend eternity with you." He begs, he pleads with Aziraphale to go away not in the literal sense, but the emotional/metaphysical: to finally break this toxic dependence on Heaven and tell them once and for all where to stick it. And because he is desperate to make Aziraphale understand, he finally throws all caution to the winds and recklessly, desperately, adoringly kisses him, the one thing he's wanted to do for ages and...

Gets. Shot. Down.

Ugghhhhh. I'm suffering all over again. Aziraphale wants him, hungers for it, for them, and yet he's been so abused and so conditioned by Heaven (he's still blithely repeating to Crowley's face that "Hell are the bad guys!") that he just cannot accept that kind of desperate, blind, limitless, lawless affection. He even forgives Crowley for this "transgression," just to really twist the knife, and Crowley just can't take it, can't face up to how terribly this has all gone up in flames, after he went to heaven trying to find the answer for Gabriel's situation. Gabriel, who he fucking hates. Gabriel, who tried to kill the angelic being he loves (and for which Crowley has transparently never forgiven him). And yet at one pouty puppy-eyed look from Aziraphale and a warning that whoever is harboring Gabriel might be in danger, Crowley leaps headlong into the Bentley again and rushes to the rescue while "Good Old Fashioned Lover Boy" is blaring. He stoutly protects Gabriel; he does a miracle to disguise him; he lets him have hot chocolate and stay in the bookshop; he guards him from the literal demonic horde outside. All because of Aziraphale. That's it. And then, it still doesn't work. Not only that, Gabriel's absence and decision to forego Armageddon gives Heaven the one tool they finally need to take Aziraphale away from him.

I repeat: Ugghhhhhhhh.

(In a good way. Ngl, I love this angst. This is the kind of angst my brain Thrives on, the Thematic Parallel Romantic Character Arc kind. Nom nom nom. But also: AGONY.)

I also need to talk about Aziraphale driving the Bentley, aside from the obvious metaphor of him being in Crowley's home while Crowley is in his. Last season, we had the "you go too fast for me, Crowley" scene with them sitting in said Bentley, which was Aziraphale saying he's not ready for a relationship. In this season, as noted above, we see Aziraphale increasingly embracing the potential fantasy of being with Crowley. But here's the catch: when he's in the Bentley this time, driving it, setting the pace, acclimating to the idea, he's driving his own idea of what the Bentley/his relationship with Crowley is. It's not the real thing. He plays classical music; he supplies himself sweets; he turns it yellow; he drives too slow. Crowley calls him in another old-married-couple snitfit to complain that Aziraphale's messed it up, but what Aziraphale has actually messed up (or will, by the end of the season) is far more consequential than just a car. He's changed the entire shape of their relationship to the one he thinks can make it work, and it just doesn't. It has to be them -- "we could have been... Us" -- or it's not even close to the truth. It's not worth their time.

I repeat: Ouch.

Speaking of the writers validating fan theories, I know we all picked up and screamed about on Crowley's idea of Peak Romance Guaranteed To Fall In Love being sheltering from rain and gazing into each other's eyes, which confirms that that poor bastard was indeed ass-over-teakettle gone as soon as he met Aziraphale (again) in Eden. I also need to talk about the 1941 redux, because wow. This time, the danger comes from Hell, which we see being its usual self: gleefully, pointlessly cruel, pettily backbiting, dirty, sniping, tedious, endless, determined to mindlessly destroy because They're The Bad Guys and they like it. So they blackmail, spy on, miracle-block, illicitly photograph, and try to prove that Aziraphale and Crowley are secretly a couple, right after Aziraphale himself has just had the Light From Heaven realization that he's in love (which we all also picked up on in s1). They're forcibly outing them (to speak of more Religious Queer Trauma) in order to break them up/get them into trouble with their authorities/families. Aziraphale and Crowley manage to escape it mostly by dumb luck, but Crowley having an altogether freakout, hands shaking, barely able to actually point the gun at Aziraphale even in the knowledge that it's supposed to be fake, is just... wow. He can't even fathom the idea of ever trying to destroy him in earnest, especially when he knows on some level that Aziraphale also finally just realized his own feelings. So I just need to --

/screams

Anyway, Aziraphale's entire arc this season is doing what he thinks is the right thing and then inadvertently causing harm and damage as a result. In the Edinburgh flashbacks (live slug reaction of me: SEAN BIGGERSTAFF???!!) he tries to stop Elspeth from stealing bodies and gets Morag killed and Crowley drinking the laudanum to save him (though that part with David Tennant just riffing left and right, using his natural Scottish accent, and being Tiny Crowley/Huge Crowley was hilarious). He invites his neighbors to a Pride and Prejudice ball and makes them all the target for demonic attack. And of course the Job episode: Aziraphale, horrified at Heaven's callous cruelty, desperate not to get Job's children killed, willing to go along with Crowley's tricks to save them somehow, tempted by Crowley to do the fucknasty with their angel bits eat some food and decide that he likes it. As mentioned, the whole thing about God being silent this season is a major thematic choice. The only time we see/hear God is Her communing with Job from afar. Aziraphale enviously imagines the answers he must be getting (he's not, he's baffled and perplexed), while Crowley longs beyond words to even have the opportunity to ask the question: why? Why do this? Why is this your plan?

And of course, this absence culminates in the Metatron, the Voice of God, the person arrogantly claiming that they're speaking for God and know exactly what Heaven wants, being able to seize Aziraphale by the short hairs and absolutely fuck him over. Gabriel is gone/decommissioned/eloping with Beelzebub, so Heaven needs a Supreme Leader (God apparently is no longer a factor in the equation). And what this Supreme Leader needs to do is finally unleash the Apocalypse that Gabriel decided to pass on (the Second Coming). Aziraphale needs to be punished, taken away from Crowley's influence/love, and put back under Heaven's explicit control, so Metatron spots a great opportunity to do all three at once. It's not an accident that the exact tool he uses to get Aziraphale to agree is "now you can actually be with Crowley!" Aziraphale and Crowley have been trying so hard to hide out from their respective Head Offices, but now all at once, there's this seemingly miraculous opportunity for them not to have to do that anymore! They can be together! They can be sanctioned by Heaven! They can give up all this hiding and sneaking around and lying! Isn't that better?

... As long as, of course, they give up absolutely everything that makes them who they are. No big deal. Minor catch. Probably nothing.

Metatron doesn't let Aziraphale have time to escape, or think it over, or reflect, or anything. He pressures Aziraphale to come with him immediately, or be once more subject to Heaven's implicit wrath/destruction/judgment. Believe me, Aziraphale already KNOWS he's made a huge mistake, as soon as he hears what Metatron really wants: bringing him back to unleash the Apocalypse that Aziraphale and Crowley have given up literally everything to prevent. He doesn't need time to reflect. By the time my man is in that elevator, he's well aware of what a catastrophic misjudgment he's made, and yet --

Aziraphale needs this. He has, as noted, literally always relied on Crowley outsmarting Heaven's cruel orders in order to prevent himself from having to do them. He's relied on Crowley rescuing him ("rescuing me makes him so happy," WELL BUB, IT'S BECAUSE YOU ALWAYS NEED IT). He admits to Crowley's face that "I need you!" He hates Heaven's sadistic meanness, but he has absolutely no framework, in and of himself, to defy it. When the rubber hits the road, he will crumple and try to go along with it, and now he's been put in a position where he's going to have to stand up, defy Heaven, and make the break once and for all BY HIMSELF. He doesn't have Crowley around to do it for him, he has no support, he is going to arrive in Heaven and be shuttled straight off to the Apocalypse 2.0 War Room. The only way he gets out of this is if he actively stands up, if he chooses himself and Crowley and their life, and he has to.

The thing is:

Aziraphale has lived his entire eternal existence Looking Up. Up is the direction of Goodness and Heaven. Up is where Angels go. Up is where Aziraphale comes from and where Demons and Hell are not. But now he's going Up, in a position to take over the whole shebang, and it's the last thing he wants.

So he's going to have to come back Down.

He's going to have to Fall. He's going to have to get back Below at all costs. He's going to have to finally, once and for all, understand what led Crowley to make the choice to leave Heaven and never come back. It's only then that they can possibly be together on any kind of conscious, equal, deliberate footing, claim their own agency, reject Heaven AND Hell, and try to really earn that South Downs cottage and that happy-ever-after, and it's gonna hurt so good.

Now if you will excuse me, /screams

[crowleysgirl56]

One thing that I’m just suddenly starting to realise, is the reason why Amazon keeps referring to the 90 minute episode as “season 3”. I know that I’ve changed a bunch of queued posts to cross out season 3 and replace it with finale movie instead. And I’ve also seen a lot of people get mad with it still being called season 3 when it is essentially just one episode. But I think maybe it’s not that bad.

Here’s why this is important. Calling it season 3 implies that it’s a continuation of the story. Think for a moment about Serenity (the Firefly film), or the first Sex and the City movie, or every single first episode of a new season of Doctor Who. What do they all have in common?

They become a soft reboot of the story.

They take time to establish the world, explain who the characters are, and then set up a plot. This is usually done for the benefit of “new viewers” who may not have seen all the proceeding episodes before it. Can you imagine if they decided they needed to do that for Good Omens? To take 30 out of the 90 minutes to tell us who Crowley and Aziraphale are and explain the hierarchy of Heaven and Hell and then set up the second coming?! The South Downs would become a fucking cliff note! (Pun intended 😜)

The only way I can see this being done well, as a benefit for both old viewers and news viewers is if they start the finale with a flashback to the war in Heaven, and we see Crowley (and maybe Lucifer’s) fall. A trial of some kind. It could very well parallel what happens with Crowley and Aziraphale in the present (another trial for stopping the second coming perhaps).

There is a lot of potential for how good that could be. But I hope to god they don’t do some bullshit reintroduction of characters because Amazon wants to try and make more money off new viewers.

So for now, let’s stay positive about it being called season 3 because it means it will directly follow on from season 2.

[celestialcrowley]

This took 6,000 years to put together.

I need to talk about some things — things that are afoot — before I pop. On my (pick a card, any card, shhh) rewatch, I've picked up on lots of potential Clues and Foreshadowing. Shouts like David Tennant, "I want to be heard!" and waves hands like Detective Azirapalalala.

It starts, as it will end, with a garden. Season 1 indeed began with a Garden. The Garden of Eden. I'm going to leave this here for now, but I'm going to come back to it. Neil never does anything by accident. Everything we saw in Good Omens season 1 and season 2 had a purpose. Have you got your turtlenecks on? Right. Let's go. While season 2 had a heartbreaking ending, their story is not over because —

It starts, as it will end, with a garden. Foreshadowing. There was a lot of it. I'll start with two important lines that were said by Crowley and Maggie. Maggie mirrors Crowley. "I'm coming back. I won't leave you on your own." Crowley had to leave Aziraphale in order to save the humans, but then we got, "I'm not leaving him to face them on his own." Parallels. Similar lines, and, in that moment, Maggie took Crowley's place as Aziraphale's protector. “Would I lie to you?”

Crowley does lie, but he promised Aziraphale that he’d come back to him, and he did. I’ll come to you is something Crowley will never lie about. More on that specific detail later. WAIT AND SEE! Season 1, Episode 5: The Doomsday Option "Look, wherever you are, I'll come to you. Where are you?" Season 2, Episode 5: The Ball "I'm coming back. I won't leave you on your own." There are parallels here too. Both lines are similar, both were spoken by Crowley and both were in the fifth episodes. It might not mean anything, but it could be a Clue, and I've still got my eye on Neil ... and his ominous lighter. Season 2, Episode 6: Every Day "Angels are like bees. Fiercely protective of their hive." This line shouted at me. Anthony "Ji'mNotNice" Crowley, while no longer an angel, has the protective tendencies of a Guardian Angel. He is the bee. Aziraphale is the hive.

In the fifth episode of season one, Crowley had been stuck in a traffic jam and then decided he was going to go 100% feral and drive his Bentley through fire. Nothing was going to stop him from getting to Aziraphale.

In episode 1 of season 2, The Arrival, Crowley losing his temper, I believe, foreshadows his threat to Jimmm “ShortForJammmes” Gabriel —

— which took place in the fifth episode of the second season.

“But I was there, and I do remember very clearly the look on your face, Archangel Gabriel, when you told my only friend to shut his stupid mouth and die.”

Right — ready? I threw these in as well because I have a hunch that they could also count as potential foreshadowing. Let's look at three very specific lines. Season 2, Episode 2: The Clue

I need to talk about that line because it appears to heavily foreshadow the end of season 2 episode 6. Aziraphale went with the Metatron to Heaven despite his bookshop. His love for food. Coffee. The kiss. Crowley. Despite everything he holds dear.

He is going along with Heaven as far as he can. I'm going to talk about the Coffee Shop Theory first, which is going to lead right into the Body Swap Theory, and why I don't stand by them. The Coffee Shop Theory We don't know a lot about the Metatron because we've hardly seen him as anything other than a floating head and his claim to be the Voice of God — at least right up until the end of season 2. There were a lot of red flags floating around just like his head. This conversation to start with... The Metatron: Do people ever ask for death? Nina: What? The Metatron: Well, the name of your establishment. Give Me Coffee or Give Me Death. I assume they always ask for coffee. Nina: They don't ever ask for death, no. The Metatron: No, I don't suppose they do. So predicatable. So predictable.

There was a sinister edge to it, and I didn’t like it. Crowley has asked about the name of the coffee shop, too, but it’s Crowley. He’s harmless. Something about the Metatron doesn’t sit right with me.

1) None of the angels in the bookshop seemed to recognize the Metatron, but at least several of them should have. They did see him as a floating head, so why didn’t they know him while Crowley did?

2) Where exactly has God been?

3) There was definitely something evil about that look the Metatron gave to Crowley in the bookshop. Why didn’t he seem to react to it?

The Metatron appeared to use manipulation tactics and mimicked Aziraphale’s speech patterns as a way of convincing him to accept his proposal. He brought him a coffee — it’s no secret that Aziraphale enjoys coffee and nice meals — complimented him — an angel of your talents — used the phrase jolly good — something Aziraphale has said before — and threw this in.

“As Supreme Archangel, you would get to decide who to work with.”

He’s using Crowley as another manipulative tactic because he knows how deeply Aziraphale cares for him, but —

1) He knows Crowley will not agree to return to Heaven.

2) He wants them separated because they are too powerful together. And nothing will be able to stand in their way if they are not separated.

Performs a wibbly wobbly timey wimey miracle

The Body Swap Theory

Aziraphale is a master of his face. He’s bubbly almost all the time, but when he’s not, it shows. I can’t bring myself to stand by the body swap theory because of two things.

Aziraphale made this face when he had Hell convinced that he was Crowley. This smile —

— closely resembles this smile.

This is Aziraphale, but he’s not the Aziraphale we know. This is an angel who has already put his armor on and is ready for battle. This is an angel who is going to fight for everything he holds dear.

The Metatron may have successfully separated them, but he clearly hasn’t been paying close attention to Crowley or Muriel. He apparently didn’t notice how feral Crowley became when Aziraphale was threatened in any way.

You don’t separate the bee from the hive.

Muriel willingly took our favorite murder hornet bee into Heaven. It’s clear they like Crowley, and he likes them as well. There were no signs that Muriel lost their angelic powers, and that could result in them getting Crowley into Heaven again. I believe they are going to play a key role in season 3.

Performs another wibbly wobbly timey wimey miracle…

“You’re just an angel who goes along with Heaven as far as he can.”

“Oh, I am, but rescuing me makes him so happy.”

“You came back.”

My point is … m’point is …

Aziraphale will always go along with Heaven as far as he can … until he doesn’t, and I believe we will get to see that in season three. As soon as he was told of the Second Coming, it was clear that he was not pleased.

“You’re so clever. How can somebody as clever as you be so stupid?”

Aziraphale is clever, and dangerously so.

And that set Armageddon his plan into motion.

To wrap things up, here’s the thing regarding more on that specific detail later — Crowley will always be the bee, and he will always be fiercely protective of his hive Aziraphale, and he will either always be waiting for him or always come back to him.

It starts, as it will end, with a garden.

Their Nightingale will sing once more.

[olive-enthusiast]

Defending Aziraphale cause I KNOW y’all are gonna come for him:

1. a lot of people say that him deciding to go back to heaven is a character regression and doesn’t make sense- but it does! aziraphale has 6000+ years of repressed trauma from doing what heaven tells him! and even if he does seem to be taking steps forward (shades of gray), he never fully takes that big leap away from heaven (very LIGHT shades of gray). you can’t just recover from it!

2. also, we never actually see him get over the demons bad angels good thing. crowley is the only exception to this rule, in his eyes. he still views the Fall as a bad thing, which is why he wants them to be angels together!

3. people are also saying that it’s crazy ineffable bureaucracy got together so fast without too much internal conflict, unlike the (now divorced) husbands. but it makes sense because GABRIEL AND BEELZEBUB RAN THE SYSTEM. AND CROWLEY WAS CLEARLY A HIGH RANKING ANGEL WHO FELL VERY EARLY ON, MAKING HIM VERY DISILLUSIONED WITH THE SYSTEM. aziraphale mever got that chance- he was a lower ranking angel that was beaten down by this system, and as such doesn’t see that it’s the system that’s corrupt, not just the angels within. he still believes that heaven is a GOOD place filled with BAD angels, because he has literally never had the chance to learn otherwise.

and this is why it narratively makes perfect sense for him to become the supreme archangel- he’ll finally be able to see that the idea of heaven is corrupt because he’ll be in charge of it!

4. aziracrow have also been shown to be a direct parallel to nina and maggie. in the last episode, nina says that they’re not ready for a relationship because she just left her incredibly toxic and abusive partner. aziraphale and nina are in very similar situations! he literally just left heaven, which was incredibly toxic and abusive, and might not be ready for a relationship with crowley yet! however, unlike nina, he doesn’t fully believe that his previous situation was toxic, so he goes back- because he hasn’t seen enough to understand!

5. he clearly wants to FIX the system, not just be a part of it, because he is intrinsically such a selfless being. he still hasn’t learned to put what he actually wants before what he thinks everybody needs yet, because, again, he doesn’t understand how heaven works!

in conclusion i love aziraphale and i haven’t slept because i’ve been thinking about the finale so lmk if this doesn’t make sense but i will not be changing my thoughts about aziraphale

ALSO KEEP REWATCHING GOOD OMENS WE NEED SEASON 3

[somehow-a-human]

Moonlight Serenade & Good Omens &... the TV show Lost...?

DO NOT ASK NEIL ABOUT FAN THEORY.

The music of Good Omens is something I have been ACTIVELY avoiding turning my focus on. The risks of hyperfixating and spiraling into it are HIGH. There are so many elements to get lost in, repeating motifs like Dies Irae, tolling bells, character themes... but I digress.

Could I hold out forever? no. and something finally pushed me over the edge. Wait for it..... Lost. Yep. The TV show Lost. WAIT WAIT, don't leave! STAY WITH ME! I promise I don't *think* I'm crazy and I have a point here!

Why Lost? And what does it have to do with Moonlight Serenade and WHAT DOES IT HAVE TO DO WITH GOOD OMENS?! Well my lovelies continue under the cut with me and keep an open mind...

Okay so... Lost. Yes, the insane 2004 mystery plane crash island adventure drama. It's a wild ride, and a masterpiece and a little bit crazy, but overall pretty damn good. I've been on a rewatch spree and wouldn't you know it... parallels between lost and Good Omens popped up in my brain! I mean they are both intricate mysteries so it makes a tad bit of sense but there was one little detail that *might* be a *clue*, or just an easter egg if anything. I promise you don't need to know anything about Lost to follow this :)

First off, what are some of the recurring themes that Lost the TV show and Good Omens have in common you might ask?

Life & Death

Alternate timelines & Time Travel

Literary Allusions (Catch-22, The Bible, A Tale of Two Cities)

Prophecies & Premonitions

Symbolism of Black & White/ Light & Dark

Yeah okay that tracks, but look there are 121 episodes of Lost and 12 episodes (so far) of Good Omens so there's bound to be some overlap for these two.

You'll be thinking about now, "BUT WHAT DOES THIS HAVE TO DO WITH MOONLIGHT SERENADE?!" I'm getting there, shhh, lemme pet your hair gently and keep giving you background information to build it up shhhh...

If you've never seen Lost there is a very good chance you're mighty confused at this moment, so let me reassure you, you don't need to know anything about it to understand the connections I'm going to make. A brief synopsis is: Oceanic flight 815 crashes on an island. The plane crash survivors quickly discover the island is more than it seems to be and holds many secrets and mysteries. A lot of people die, most of them are murdered, it's giving Lord of the Flies if it was in the horror genre. That's honestly all you need to know.

Time Travel & Alternate Timelines

Time travel is cannon in Lost. It's super confusing and I'm not even going to try to explain any of it here. It's honestly just not worth it. If you'd like to try and read about it, the abridged version is here, but I don't think the details are important. Just know it's real and confirmed and exists.

Okay so, *SPOILERS FOR LOST WILL FOLLOW* In Lost season 2, episode 13 "The Long Con" two of the plane crash survivors are trying to find a signal on a radio they've found. While scrubbing they come across a signal playing Moonlight Serenade by Glenn Miller. One character mentions it must be from somewhere nearby, but the other counters that this type of radio can pick up signals from anywhere in the world. There is a beat and then another character jokingly adds "Or any time. Just kidding, dude."

It's later confirmed that the Lost characters in 2004 are indeed picking up a radio signal from 1940 that is playing Moonlight Serenade, a product of time travel.

Congratulations, you've made it to the point where I'm going to bring Good Omens into the mix. In season 2, episode 4 "The Hitchhiker" we open seeing Aziraphale driving back from Edinburgh late at night/early morning. Uncomfortable with the darkness and silence he asks the Bentley to "play something that's got a bit of swing? I'm in the mood for something modern."

The Bentley obliges the angel, as she always will, and we are shown a shot of the radio specifically lighting up, so we know she's tapped into the radio to play this for Azi, but there is no channel selected.

Compared to Season 2, Episode 3 "I Know Where I'm Going" when we see the radio is playing and does display the channel.

But hold on. Okay maybe it just isn't showing the channel, that's fine, but Aziraphale asked for "modern"? Moonlight Serenade is most certainly not modern. It was recorded in 1939! I'd say in 2023 it's anything but modern, maybe not in Aziraphale's long lived opinion, but certainly in the Bentley's opinion, given she's only a 97 year old car.

I think you can see now what I'm saying here. I think the Bentley picked up a radio signal from 1940, maybe 1941? Episode 4 is of course our 1941 blitz magic show bullet catch flashback extravaganza, so... it makes sense. I know we like to headcanon Crowley and Aziraphale listened to A Nightingale Sang in Berkeley Square in the bookshop in 1941 after the bullet catch, but what if they listened to Moonlight Serenade on the radio instead?

What does it mean?

A reference to this small moment from Lost could be a nod to the first hint of the canonization of time travel in that series. We know Crowley can control time to some extent and we can see some evidence of time discontinuities and possibly time weirdness in season 2 so is it a hint that timeline funkiness IS happening? Do I want to get into the fact that the main character in The Hitchhiker, the Twilight Zone episode this episode is named after, is actually dead? No I don't, not now anyway.

Or it's just an absolutely lovely little Lost easter egg.

SO! There it is... weird little connection that I couldn't get out of my brain. It just seemed a bit too... ineffable.

As always this is all for fun and all for fans! Don't ask Neil about these things, they're for us to have fun with. And something else that I don't think some people on here understand about meta-analysis; the goal of it is not necessarily to be correct. It can be, if that's your thing. Refuting peoples posts, theories, analysis, and headcanons because you personally don't agree with them and telling them they're wrong and stupid doesn't achieve anything. Meta-analysis is an exercise in critical thinking and creative writing. You could write meta about how Spongebob is a critique of the loss of christian values in modern society and you wouldn't be right or wrong, you'd just certainly be a person who wrote that for sure though. Just, be kind to each other, share ideas, you're allowed to disagree with someone's ideas or have different ones of your own but don't be cruel in saying so, don't call someone stupid, that's just silly.

Love you all, do something kind for yourself today <3

ps. The moment I see Michael Sheen with blonde hair come January I'm gonna bark like a dog, that's all. Thanks.

[siriusly-the-best-bi]

Ya know what’s curious to me? In Episode 2 when Crowley asks Aziraphale in the cellar whose side he’s on, Aziraphale responds “God’s, of course!”

Ya know why this is curious?

Well, for one, they’re talking about sides. Heaven and Hell. Their respective bosses. Crowley’s response of going along with Hell as far as he can makes sense, it’s what we expect to hear, but when he turns the question on Aziraphale, he doesn’t exclaim ‘heaven’s obviously!’ He immediately associates himself and his values with God directly.

Second of all, In episode 6, when talking about accepting the Metatron’s job offer as the new supreme archangel with Crowley, Aziraphale says “but heaven! Well, it’s the side of truth, of light, of good.”

For the entirety of Good Omens season 1, Aziraphale had always talked about following God’s ineffable plan, which was a noticeably different turn of phrase than those such as Gabriel used in heaven, always referring to it as the Great Plan. This is even the very thing that lead them to wiggling their way around Armageddon in the first place when confronted by Gabriel and Beelzebub.

Aziraphale has always made the distinction that he is an angel and does good because he believes that God is good and he trusts in their design.

Now I might just be loosing it, it is nearly 3am, but this sudden distinction and the choice of Aziraphale to not only discuss heaven in such a manner, but to refer to it as an entire Side, and use the adjectives he uses to describe heaven when we’ve only ever seen or heard him talk about God this way… it just all plays very intentional to me. It feel’s weird.

Especially once you take into consideration the flashbacks we’re shown of Beelzebub and Gabriel discussing the failed Armageddon in their little pub rendezvous. They never once mention their respect ‘boss’. Gabriel says “we are ready for round two.” And Beelzebub’s response is “as are we.” This we that they’re referring to isn’t God. It’s not Satan. They’re talking about the beings who reside in these respective places. The Angels and the Demons. And the conversation then continues with Gabriel admitting, “everyone in Heaven is all like, ‘Well, you’re the commander-in-chief, can’t you just make the war happen anyway?’ Like, I make the rules.” And whats Beelzebub’s response? “That’s exactly what my lot said.”

The pressure isn’t coming from God anymore. In the past, like seen in the Job episode, when there were divine tasks at hand they were dealt with by the angels for God, and God was directly involved in finding the outcome. There was no going through management or filing paperwork or monitoring miracles. And hey, I get it. As time evolves along with the humans, so does everything else.

My question is, is it possible that with these evolutions in the human world, that Heaven and Hell have perhaps learned a thing or two from humanity as well? Already they’ve mimicked the clothing, the office spaces, the entire design of heaven and hell down to the management hierarchy. Is it possible that these wars and these fights aren’t being started by God anymore, but an act of civil war amongst the Angels and Demons? We already see Michaels urge for power and control paralleled and almost foiled by Shax’s drive for control and power and both were the driving factors between any of the Major problems this season that lead to major conflicts between Heaven and Hell.

That brings us of course, to the Metatron. Who is he and where exactly did he come from? When did his position become necessary and why wasn’t he present as the ‘voice of god’ in the job minisode? Why suddenly are all of God’s plans, only being carried out by him?

Do you want to know why I think Gabriel was being demoted and not sent to Hell as a fallen angel? Because I don’t think they can. I think that’s something only God can do, but what kind of fear and control would that hold over all the busy bee’s? No, no, instead, let’s frame it as a Kindness. Heaven won’t cast you out because it will make them look bad! because it’s happened before, so they have no choice but to play a game of politics to keep everyone in check.

But here’s my question. Has there been a fallen angel since the great war? Why is it that after all this time, Aziraphale hasn’t fallen time and time again? Why is it that instead of an Angel falling from grace to join the armies of hell, the response to an act of rebellion is absolute destruction. The same could be said for hell. If you have demons walking around that are doing good, wouldn’t that simply just re-spark their halo’s? Why is it that they’d be destroyed by Holy Water instead of simply returning to Heaven?

It’s because God plays an ineffable game of their own design. They’re not playing with earth, or humanity. They’re toying with the Angels and the Demons. It’s why they’re placing bets with Satan.

When Crowley’s attempting to convince Aziraphale to run away for the last time, he doesn’t say Fuck God and Fuck whatever game this is, we don’t need to be a part of it. He says Heaven and Hell are toxic we need to get away from them.

It’s just so curious to me how this season has carefully and slowly taken us away from the idea of God and God’s Ineffable Plan and instead led us into this drama between Heaven and Hell, no mention of God whatsoever. No narrator.

[melbatron5000]

S1E1 S2E1

Here's something else I've been working on -- because I have ADHD and too many things have caught my attention. The first episode of season 1 and the first episode of season 2 of Good Omens have some creepy parallels, but the rest of the episodes don't seem to. ??? I don't know what it means, but here are my notes on it so you can go nuts with me.

There it is. What's happening here? I don't know. Have we been given Clues here? I feel like yes, though I'm not entirely sure what Clues.

The red eyes as represented by lights throughout S2 are probably demonic, but I already thought they were Crowley when he's hidden. What does it mean that Crowley locks Nina and Maggie in with a lightning strike, and Hastur destroys the convent with a lightning strike? The eccles cakes left by the horse statue at the same time as Famine in the restaurant? Do they mean anything, or are they just fun parallels?

I had thought that I might be able to find the missing scenes that belong opposite The Resurrectionists minisode by comparing season 1 to season 2, but so far the only solid parallels are in the first episode of each season. There are other parallels, but they're scrambled around and don't match up time-wise.

Is that a Clue? Are more scenes messed up than just the missing ones from opposite The Resurrectionists? If I match the parallels up, will that give me a key to unscramble them? And if I can unscramble the scenes, will that give me the missing scenes that belong opposite The Resurrectionists? But if I'm meant to unscramble scenes, I feel like I'll need a LOT more parallels.

I'm in over my head.

Wheee!

[ineffable-baker-street]

Metatron's Evil Plan

Starting with Gabriel's trial. Metatron said, "No speeches Gabriel you're not going to Hell.

He then adds "which there isn't."

It would obviously be an issue if Heaven were to be viewed as problematic and out of control, with fallen angels left, right and centre. So they tried to manage Gabriel, make it so he just faded from his place of power, but he outsmarted them. And suddenly there were two former high-up's down on earth, and we all saw just how desperate they were to get Gabriel back. It's clearly A Concern.

So unfortunately Gabriel has escaped from their clutches, with a Prince of Hell no less.

Very much not a good look. So Heaven needs to act and it needs to be now. Mere minutes after Gabriel and Beelzebub leave together, Metatron is on earth.

Then he goes to the coffee shop. He asks Nina, "Do people ever ask for Death?" and the subtitles were capitalised which I do think further supports my point. We already know that seeing Death is a bad omen, since at the end of Season One right after they saw him they were both dragged away to their would-be permanent discorporations.

There is also something to be said for the mirroring of the first season and second season. I've seen theories, as well as noticed myself that many things line up. I can't find the post that laid a lot of things out but here's a few that I've noticed.

The mention of Death in the final episode, right before something bad happens (they both get taken to be punished/Aziraphale leaves Earth.)

Aziraphale and Crowley both holding someone's hands with the person in between them (Adam in S1E6 and Jimbriel in season 2, episode one or two i can't remember which)

The Nightingale reference. Pretty obvious, but ending the season on that song holds significance. I think most people have seen the theory that that's a message from Aziraphale, but I won't go into that here or this will never end.

The nightingales plus the plans to go to the Ritz being gone I think is definitely symbolic of the fact that they've lost something. Again, an obvious option, but it's an important place for them, so the fact they had similar plans, that were then interrupted, reflects Season One while also telling us that things are clearly not going to be good.

But then you also consider that it's perhaps exactly what the Metatron wanted all along, for Crowley and Aziraphale's relationship of love and trust to completely fall away, symbolised by the hopes of dining at the Ritz disappearing.

Therefore I think a pretty reasonable conclusion from the mention of Death - and the parallels with last season - from someone as sinister as the Metatron is that something is going to happen to most likely both of them. Metatron is also almost surprised that people never ask for death, as it is "so predictable." There was definite intention in that scene, and makes me wonder if he thinks whatever he's trying to make happen will make them wish for death?

This next point is a big one. At first you might think its coincidental but if you go back and watch the scene I think you'll be convinced. When the Metatron enters the bookshop, the lamps with the candle looking bulbs and the glass decorations jingle and move. I can't find a good GIF to show it but if you rewatch I promise you'll notice it. And yes, since the door has just closed and there's potential wind they might move for a few seconds, but they continue moving the entire time Metatron is in the bookshop. This scene goes on for approximately 2.5 - 3 minutes, definitely too long for them to be moving. But, I suppose you never know, could be coincidental. Until he leaves the shop with Aziraphale. They move more vigorously on his way out, but by the time (about three seconds) Crowley walks towards the window to watch them go, they've completely stopped moving. Not a coincidence. Metatron has some sort of energy that's powerful, or influential enough, that it cause material objects to move vigorously when he's near them. They didn't even move nearly as much when literal demons entered the shop, at the beginning of episode six.

Considering the fact that those lamps were completely conjured by Aziraphale for his ball, I have a strong suspicion he's particularly influential over magical objects... or magical things (entities) in general. (This is important later)

Metatron also says, "just you and me, Aziraphale, eh?" which is honestly something that sounds more like enemies facing off in a battle, than friends going out for a chat. It's like when a murderer is alone with their victim, and while Az and Metatron are talking there are no witnesses. I definitely think this is foreshadowing for next season when Aziraphale has to face off with the Metatron.

When they're leaving the shop the Metatron is all lovely smiles while Aziraphale is looking, and he seems a bit like a harmless old man, but as soon as Azi's back is turned he gives Crowley the most hateful, sinister, conniving glare, with [tense music playing] according to the subtitles and also my ears. He is up to something. This is a very strong piece of evidence that the Metatron Does Not Like Crowley.

He tells Aziraphale, "you are just the angel for the job." It could be an ordinary thing to say, but no I don't think so. I think the Metatron has been carefully considering this for quite some time, and I think this is all about Crowley. He says there are "huge plans afoot, enormous projects," and he's so careful to be extremely vague, while talking Aziraphale up. Then he uses a tactic knows will work, which is playing with Aziraphale's heart and using Crowley.

"I've been looking back over a number of your previous exploits, and I see that in quite a few of them you formed a de facto partnership with the demon Crowley."

He has done meticulous research, and it's made clear earlier that he hates Crowley. But, he knows that Aziraphale loves Crowley, and that he wouldnt be able to resist the chance to try and do what he thinks is the right thing. Metatron mentioned that he was a 'Prince of Heaven' and that it could be seen as an 'institutional problem'. Well Heaven can't really been seen to have problems can it? And Crowley has been doing whatever he pleases for six thousand years, not on the side of Heaven or Hell, and I think that they're sick of it. He's already 'corrupted' one angel, who knows what's next? They don't want someone to hold that kind of knowledge and power over them, and Crowley holds a far greater knowledge of earth than any of the rest of them do.

And so the Metatron offers Aziraphale something he knows he won't refuse:

And I have to ask, why, why would he ever have Crowley reinstated to "full angelic status?" Two seconds ago he just described him as a demon?? The answer is that he wouldn't. Somehow I don't think heaven makes a habit of restoring fallen angels. He has a master plan, and that involves getting to Crowley, which means getting Aziraphale out of the way. Eventually I think they'll attempt to use them against each other, but the first thing for them to do was gain some control over Crowley. The Metatron had offered for Crowley to come to Heaven, which does of course provide easy access to him and if Crowley had chosen to do that it probably would've worked for them. But I think the Metatron was counting on Crowley not wanting to go back, and that Aziraphale suggesting it would even drive a wedge through their relationship (which it did).

And now Aziraphale is off somewhere busy working, they aren't speaking to each other and Crowley is alone on earth, no one is going to notice if something happens to him or he goes missing.

Aziraphale also really isn't that special to Heaven, he's just another angel, and one who doesn't always do as he's told, which begs the question of why Metatron would make a whole trip to earth, just to give him Gabriel's job. It could go to pretty much anyone honestly. So when Metatron says 'The Job,' I'm certain he does not mean taking over Gabriel's position. He means the job of getting demon Crowley back in order and control, so he stops causing problems for Heaven. Because wherever there's a problem, Crowley is at the centre of it.

Finally. Aziraphale's insane smile in the elevator.

DO YOU SEE HOW CREEPY THAT IS?? It's so off putting, and given he's just effectively broken up with Crowley you wouldn't expect him to be too cheerful. That is the least genuine smile I have ever seen, like it does not even look like Aziraphale anymore. At first I thought it was just him trying to make himself feel okay about everything, and it technically could be, but I'm not convinced of that. There's obviously the theory that Metatron put something in Aziraphale's coffee, but I just don't buy that (no hate to the theory ofc, definitely still a possibility). It's so simple, so human, and this brings me to my point about Metatron having influence over objects, particularly magical ones, and potentially entities as well. I think it is far more likely that Metatron is either brainwashing Aziraphale or simply has an element of control over him, but isn't entirely controlling him. Could be persuasive power, which he uses to influence Aziraphale, but technically if Az fought really hard he could fight him off. My mind influence theory is supported on multiple occassions, where Aziraphale seems to want to change his mind, or act a certain way, and then suddenly snaps back to acting like everything is okay. Examples of that are:

- Aziraphale straight up says he doesnt want to go to Heaven. He tries to play it off as a bit of a joke but he looked pretty damn serious when he says it. He looks so doubtful, but between then and speaking to Crowley, his attitude does a complete 180 flip

- "Well obviously you said no to Hell, you're the bad guys." Aziraphale would NEVER say that if his mind was completely his own. He has spent almost their entire existence saying that Crowley is nice and good and kind. He doesn't think for a moment that Crowley is grouped in with Hell anymore, but that's certainly what the Metatron would think

- Metatron walks in right after Crowley leaves and isn't at all surprised by the fact that Crowley refused, more evidence that it was what he'd hoped and planned for. "Ah well always did want to go his own way. Always asking damn fool questions too." Which is a tiny bit of further background into fallen angel Crowley.

- When Aziraphale is heavily considering changing his mind, Metatron keeps talking as though Aziraphale is saying different words. "It should be in safe hands." "Anything you need to take with you?" He's suddenly really pushing Aziraphale, even though he said there was no need to answer right away.

And that is all I have for you!! If anyone has anything to add I would LOVE to hear, this is my theory, definitely not the only possibility but I do think it's a candidate. Please let me know if there's any major points I've missed, I'm sure there probably is 🤍

@a-hearts-a-heavy-burden let me know what you think!!

[fuckyeahgoodomensfanfic]

Good Omens Fic Rec: Collaborative Activities

In that moment, Aziraphale knew his destiny. He was destined for a day of tiresome bickering with a devastatingly handsome and soul-crushingly insufferable man. If he walked out now, he could convince the young executive assistant in charge of the phones to give him his. She seemed to like him, maybe had the littlest crush on him. Once he had his phone, he would email his resignation to Gabriel and polish his resume on the plane home to the city. “Fell!” Aziraphale did his best to smile, pushed away thoughts of fleeing his godforsaken job for good. A grown man, he was a grown man who could make it through one long weekend of asinine activities. While on a corporate retreat, estranged co-workers Aziraphale and Crowley get teamed up together. They encounter something on their hike, something that brings a buried desire to the surface and transforms it into an unquenchable lust.

Length: 12,776 words

AO3 Rating: Explicit / Spice Level 🔥🔥🔥🔥🔥

Best for: After Dark, Human AU, Mystery

Triggers: None

Read it here, fic by scullyphile

*Minor Spoilers* It's not often that I can write a rec post immediately after reading a fic, but I'm able to now, and more than that, I'm BUZZING to talk about this fic!! This was so good!!

In this human AU, Crowley and Aziraphale are coworkers at an advertising firm with a complicated past. Right off the bat, it's a setting that works perfectly. Aziraphale works on an upper level and Crowley on one of the lower ones, so it parallels perfectly to the canon of Heaven and Hell being different levels of the same office building. Aziraphale hates Crowley for reasons you'll find out, and when he is paired up with him for a company-mandated hike, well, he's not happy. I loved their chemistry, the banter, the stupid puns. Really, everything in the first half of the story kept me super engaged and fulfilled even if it had ended there.

But then we get to the next half of the story. Here is where it went into overdrive for me. It's a much more casual fandom for me, but I've been an X-Files fan since childhood. Usually, the plots of episodes are really hazy for me until I'm actually rewatching them. So, it took me a while to make the connection on the "loosely based on an X-Files episode" tag. Ohhhh, what a genius inspiration!!! This is a sex pollen fic, so expect some uncontrollable sexual urges. But more than that, expect things to not be as they appear. I simply cannot say more, you need to find out for yourself how this plays out.

This is so, so, so much fun. I loved this a lot. My only complaint is that it's not a million words long and it ended. Please, more X-Files inspirations/crossovers. Oh my god, I didn't realize how much I needed that. After dark read that I hope you guys also enjoy!

Read it here, fic by scullyphile

[vidavalor]

Perfectly Splendid

"Perfectly splendid" is a Mary Poppins allusion from another story that, thematically, is an interesting one for Good Omens to be referencing in The Final 15. That story, plus the ton of other Mary Poppins references in the last two episodes of S2 and how that could help us figure out what's going on, beneath the cut.

The phrase "perfectly splendid" is an allusion to Mary Poppins that comes from Mike Flanagan's The Haunting of Bly Manor. It's a modern-set Gothic horror story that features a nanny arriving to care for two, Jane-and-Michael-Banks-esque kids at an English manor house. Flora, the little girl in the story, is obsessed with her mysterious former nanny. We see quickly in the series that Flora has taken to using her former nanny's catchphrase and so calls everything she likes "perfectly splendid" repeatedly throughout the story, in a way that is both cute and eerie as all fuck, depending on the scene.

The "perfectly splendid" is a take on Mary Poppins' "practically perfect" and the homages to Mary Poppins in The Haunting of Bly Manor are overt, if not quite as much as Scary Poppins is in Good Omens. (It would be hard to top that!) Flora saying "perfectly splendid" is the main quote to come out of the series and a reference in Good Omens to this signature bit of The Haunting of Bly Manor is then also a roundabout reference in Good Omens to Mary Poppins.

The Haunting of Bly Manor is a horror story about possession.

Ya know, that thing that Satan did to Crowley in 1.01...

...and, I would wager, in the bits below of 2.06:

When the character Derek Jacobi is playing first arrives, all five angels fail to identify this being as The Metatron... and all while the only demon in the room-- Crowley-- is very still in the chair and suspiciously (forcibly?) silent until spoken to by the being.

The angels not being familiars of The Devil is, I think, the simplest explanation for why none of them can recognize a face that should be very familiar to them. Upon this person being identified as The Metatron, Michael, Uriel and Saraqael are then so terrified of ticking him off that they fail to recognize that he told them all to go back to Heaven using language from the wrong Julie Andrews movie.

If this is The Metatron below, then why is he saying "spit spot" (and alongside "not another word" as a bonus, as she says that, too)? These are Mary Poppins signature phrases and Mary Poppins is Hell's answer to Heaven and The Sound of Music in Good Omens.

I'm actually pretty sure Crowley & Aziraphale had a hand in writing both, which is why neither Hell nor Heaven seem to actually understand their signature stories but, for now, we know which one is supposed to go with which group and any sign of Mary Poppins is a sign of Hell, ever since the Warlock era... which parallels the last two episodes of S2, with The Meeting Ball disaster as a version of Warlock's birthday party. This time around, the party leads to the influence and not the other way around.

In S1, it's Crowley as Scary Poppins at the door to influence Warlock with Aziraphale there to counter him as the gardener... mirrored in S2 with Aziraphale as the Warlock, Crowley the Gardener as one influencing voice and the other being Satan-appearing-as-The-Metatron arriving at the door in the midst of a Poppinspalooza.

But there's still a lot more Mary Poppins than just the above:

A spoonful of sugar helps the medicine go down...

Most of the Mary Poppins references actually started the prior night with the arrival of the demons, when Crowley paused in the street in mid-conversation as the demons arrived on Whickber Street and spoke aloud about how he felt a change happening a la Bert in the opening scene of Mary Poppins.

Wind's in the East/Mist comin' in

Like something is brewin'/About to begin...

Then, there's Crowley asking Mrs. Sandwich (who is wearing a plume very much like Bert's favorite lady in that opening scene of Mary Poppins) if she "has her hat pin", which is a reference to the suffragette movement, so cast off the shackles of yesterday! shoulder to shoulder into the fray!...

Mary Poppins' "Sister Suffragette" scene is also an example of one of its many scenes in which the humor is built around two characters who aren't at all hearing one another, which is very similar to Aziraphale and Crowley having issues with that to some extent during The Meeting Ball and then being in full-on, Baby-Swap-Plot-level, miscommunication Hell in That Scene in The Final 15. A lot of those Mary Poppins scenes, including "Sister Suffragette", involve action around a door-- like damn near every scene in Good Omens-- as that is symbolic of communication and whose voice is being listened to at any given time.

Or how everyone was then link your elbows/step in time-ing it the fuck out of the shop...

They're at the gate/step in time... It's The Master/step in time...

That was all after things got a bit supercalifragilisticexpialidocious...

So when the cat has got your tongue, Mrs. Sandwich, there's no need to dismay! Just summon up that word and then you've got a lot to say...

Beez's Fly + Hell claiming Mr. Brown of Brown's World of Carpets =

But the best/worst is near the very end:

Though her words are simple and few

Listen, listen/She's calling to you...

Feed the birds/That's what she cries

While overhead/Her birds fill the skies...

So, yeah...

Up/Where the smoke is all billowed and curled, Aziraphale...

...between pavement and stars

is the chimney sweep world...

When there's hardly no day/Nor hardly no night

There's things off in shadow

And off way in white...

We're owed some serious "Let's Go Fly a Kite" come S3. 🦆☂️😊

[mozeloon]

on the good omens s2 finale ....

Finally got around to watching this show and at first I was very surprised with the turn of events in episode 6... esp Aziraphale saying "you're the bad guys" about hell, and in general being so happy to invite Crowley back to heaven with him. I thought, surely he knows Crowley would say no, how could he be so naive? truly a tough watch, i was cringing but so invested. And I knew ahead of time they were going to kiss!!! I didn't know it was going to be this way!!!!

I see a lot of parallels between Azi and Zuko's redemption arc in ATLA. In season 2 of ATLA, Zuko is utterly rejected by and pitted against the family and nation he has relied on/been loyal to. Now, he is completely relying on the one person who truly loves him, and he is forced by his circumstances (and gently guided by Iroh) to reckon with taking a new direction in his life. This involves a lot of grief and struggle, and finally, when Zuko starts to adjust to his new life, to find joy in it, he is offered the greatest possible temptation: a glorious return to his family and title.

His father and sister have not changed or regretted their treatment of him; Azula's coaxing at the end of S2, telling Zuko she needs him, is very similar to how she traps Zuko at the beginning of the season, telling him their father regrets his banishment and wants to keep his children close. But from Zuko's perspective, he wants to believe that they do have regrets – that they recognize his efforts and his actions (like how he asserts that "I have changed" when he joins Azula against the gaang).

We know from watching the series play out that this is a necessary regression in his character arc - he needs to encounter these temptations, and eventually turn away from them, for his redemption to feel earned and complete. If not given the chance to return to the fire nation, his life in Ba Sing Se could be seen as making the best of a bad situation - he could still dream every night of returning home.

To return to Good Omens, this is much how I saw S2 play out. Aziraphale, long loyal to heaven despite occasionally diverging according to his own morals, is left a little more on his own and is clearly a bit put out about "not reporting to heaven" anymore. He gets to enjoy shenanigans with the one person who unconditionally loves him, and gain confidence in the decisions he is making against the will of the heavenly bureaucracy, when he is offered the chance to get back everything he lost. Like Zuko, Aziraphale is manipulated into thinking that heaven has changed, because he is being rewarded for his actions with a promotion – so of course, they are on the same side!

I think, despite hearing Crowley say over and over that he is not interested in being on the side of heaven or hell, Aziraphale has always projected a bit of his own feelings about the matter: he thinks Crowley is just saying that because that is a way to make the best of their situation. Not to mention that they both feel that Crowley's fall was undeserved. Aziraphale, like Zuko, have both been indoctrinated to be grateful for any kind of recognition or acceptance, even if they are poorly treated in the process. I would imagine that Crowley, who had to unlearn this long ago, is also worried Aziraphale might be hurt or corrupted by the system around him.

For this reason, I don't think the Metatron will immediately reveal himself as evil and subdue Aziraphale, or that Crowley and Azi have switched bodies again, or that Aziraphale is already hatching some genius plan, or anything like that. In the same way that Zuko had to return home to realize he lied to himself about how his life would turn out, Aziraphale is still hoping to make a positive difference and find a way to reconcile these different threads of his life. This is at the root of his naive, black-and-white thinking during that final confrontation with Crowley - he's just desperate and trying to convince himself. Only once back in heaven will he realize he cannot fit back into his old mold.

I have more thoughts but that will have to be for another post.

[unidentifiedlyingobject]

1,2,7,17,23 dbda ask gameeeee

yay thank you anon!!! :D dbda ask game

1. Who is your favourite character?

aaahhhh I love all of them!!!!!! Ok that's not a proper answer... hmmmmm I relate to each of them in different ways!! Charles is so important to me because personally, seeing someone who struggles with anger but is still unconditionally loved by his friends is so important to me. Crystal struggling with her identity and being strong in the face of a creepy guy is also very relatable, although I haven't been possessed by a demon yet :P Niko is wonderful and I want to BE her loll. Edwin is so awesome though and out of all the plots in season two, his gay awakening is one of my favourite character explorations

Wait wait wait scrap that, my absolute favourite is Kashi, he's such a vibe :DD

2. Which is your favourite episode? Why?

Episode three I think, because although it's quite a heavy episode, watching Charles' trauma resurfacing gives me so much more insight into his character and when he's pretending to be fine against what he's trying to forget. Also I love Edwin and Crystal getting used to working together!!

7. Favourite headcanon from the fandom so far?

Esther and the Cat King. They hook up every now and then when things around Port Townsend get especially dull. Two immortal beings both in a small town, it's inevitable

17. Theory you have/had for season 2?

Four words. Charles Rowland bisexual awakening. Oh and also, payneland would probably do a 'good omens' and have a big split up. They'd reunite with Crystal's efforts, and in the process, Charles would confess his love :D Additionally, there's probably a Charles Rowland existential threat to parallel Edwin's hell :)

23. Song that reminds you of the show.

Well the song 'arms tonite' by Mother Mother reminds me SO MUCH of them but the story of that song is completely different, because it's about someone who dies and someone who gets left behind, so I can't say that it really is about them unless there's an au about only one of them dying.

Therefore, that leaves me with two songs. Despite not personally shipping catwin, 'Beautiful Stranger' by Madonna is incredibly catwin, and I cannot be convinced otherwise :P

A Life Less Ordinary is my ultimate payneland song and it makes me emotional every time I listen to it!!!! (which is a lot)

again, thank you so much anon for letting me obsess about this show!!!

[starseneyes]

Chenford - Lucy Chen / Tim Bradford - The Rookie - Season 5 - Ep 22

"Under Siege" AKA "Who in the Writer's Room Likes Horror?"

It's a bizarre day. If you love Chenford, then you need to know what's going on with the WGA - Writers Guild of America. They are striking for a fair wage and basic protections.

WGA members craft this ship and show we love so much, so please show solidarity for them as they fight for not only their future, but for future generations of writers.

SPOILER ALERT: If you want to remain spoiler free, I have no bloody clue why you're here. I can only assume a friend told you to check this out as a cruel joke. First off, dump that friend. Second, buckle up. It's about to get spoilery!

All good? Great! I can't wait to dive in.

Arrest Me... but make it SCARY

A bit of a different vibe for our opening tonight. No, this isn't Chenford-direct. But, it's important to know the vibe of this episode going in.

If any of you are Avengers: Infinity War fans, you might recall the Wanda / Vision relationship, and their whole sequence where they were ambushed. Originally, it was a lot longer, and had more of a horror movie vibe.

I loved that they went outside the box on that to play with genre throughout the movie.

I feel like The Rookie is playing with that a bit. It's been a while since my heart pounded during an episode.

In all honesty, it was probably Day of Death that last had me on the edge of my seat... and I watched that after I started Season 5 with near-canon Chenford.

Yes, I'm spoiled. Yes, I think OG Chenford fans deserve medals for their patience.

Speaking of which, your patience with me is likely wearing thin... let's get to the Chenford.

"Hey I heard it was Thornson."

Tim and Lucy show up together, and I'm having flashbacks to the two of them bailing out her UC buddy in the dead of night. These two know how to get moving when it matters.

Tim and Lucy immediately separate on their separate missions. That didn't work out too well for Celina and Aaron, but it looks like Chenford survive the night.

Look, I have a lot of ship trauma. "Leaf on the wind" anyone? Yeah, I've got ship trauma.

"A blood drive has been set up at the hospital. If you can do so, please volunteer at the end of shift."

I'm reminded of the fact that Tim Bradford regularly gives blood, so I'm heart-warmed that he's the one who gets to deliver the news to the team.

"Those are not store-bought Halloween masks."

It struck me immediately that Lucy is sitting front row like a Rookie.

Yes, I know that they are packed in there, so somebody has to sit up front... but it's Lucy, so it feels symbolic. As though she is sitting in the Rookie spot in Celina's honor.

"Hey. We heard the good news about Aaron. Unfortunately, none of our CIs have heard anything about a gang targeting the cops."

I know it's a little detail, but I love Tim and Lucy showing up together everywhere.

Of course, someone on Twitter called out the 4x01 parallel to them showing up at Wesley's together after I initially watched the episode. And they're so right. It's another parallel among many in this episode tonight!

"I hate to say it, but this is not gonna break tonight."

This one I spotted immediately the first time through—it's another night where he's sending everyone home because there's nothing more to be done... just like when they lost Jackson.

And I have to wonder if the intentionality of these parallels is to confirm or subvert expectation.

Like, are we supposed to see this similar sequence of events as an omen of doom? Or are we drawing these parallels with the intent of intensifying the torture before the cathartic release of Aaron's survival?

I guess we'll find out together in Season 6.

"I can't lose another."

Oh, Grey. Poor Grey. I guess I wasn't the only one having flashbacks.

Tim and Lucy Embrace

Tim knows Lucy is having that same flashback. There are too many similarities, too many things tying them all back to Jackson and the loss they all endured.

Angela about to give birth. Someone targeting them. An ambush and a shooting.

Yes, Aaron has a chance at making it. But the weight of this moment is not lost on this team who has suffered too much loss before.

Lucy and Tim step into the apartment, and they barely make it past the door before they're in one another's arms.

It's wordless. Tim motions to Lucy, and it reminds me of the hand motions when he offered to carry the War Bags after their last ride together.

Tim and Lucy no longer need a shorthand... they don't even need words.

He knows what she needs without her asking, and she knows what he's offering without a word spoken.

Back in Season 4 Episode 1, Tim asked what she needed. She asked for the hug. Now he knows what she needs in this moment as easily as he knows his own—some semblance of comfort in the horror of history repeating.

QUICK EDIT: Upon rewatch, I find I didn't imagine his "Come here" the first time (another call back), so technically he did use words... but they weren't needed.

Tim holds Lucy in his arms—so similar to their positioning in 4x01—but that's where the similarities end. Because Tim and Lucy of Season 4 no longer exist.

Everything has deepened between them since then. And while, yes, the hanky panky is fun... the trust is what they both need here.

They can't trust that everything will be okay. But they trust that with one another they are truly safe. And right now, they both need that comfort.

"It's okay," he whispers as he holds her, wishing it were true.

Tim kisses Lucy's forehead as he holds her, rubs her arms, and tries to offer some comfort as she leans against him, sobs overtaking her... like the first time he held her in Day of Death.

I know that we're going for the 4x01 parallels with how this is shot and staged, but I see the DOD ones, too. This is where they are safe when nowhere else feels safe.

Tim's hand cradles her head as he holds her. And much as this hurts like hell, this moment is important.

Tim and Lucy are one another's safe place. With each other, there are no pretenses or pretending, anymore. They no longer hide from one another or themselves.

They've embraced the beauty of who they are together, and while there will be many moments of joy... the sorrow is a part of the journey.

Tim and Lucy have had their share of it, true. But this is the first time they've traversed it as boyfriend and girlfriend. And the impact of enduring possibly losing another officer and friend to an ambush is too much.

Does being together make it easier? Hell, no. Is there a slight comfort in knowing you're not enduring it alone? Oh, yes.

"No we know. We ran your prints ... you don't get out of bed for less than 20K a day. Who hired you?"

Tim and Lucy are very good at what they do, and I love how they are supporting one another and building upon each other.

I miss them riding together, but we see what makes them great—they both think on their feet and they are sensational at the "yes, and".

I love getting to see the professional side still fires so beautifully between them. It's a feat I feared fumbled, but I'm freakin' psyched it fared fine.

Oh my goodness, that's way too much alliteration. But, I'm leaving it. It's ridiculous and it makes me smile!

The Trip Wire

Another commonality with Season 4 Episode 1. Gee wiz, we're going for lots of references with this one, and that leaves me curious about the intention... and whether there's a common thread that we're somehow missing that leads all the way back.

Or, I'm reading too much into it because I'm weird. I can roll with that, too.

Tim joins up with Lucy outside the house where she asks him for clarity that none of them have. What the hell is going on!?

"We should move on." "What? No."

Love that Lucy still stands up to Tim at work.

Look, even when he was her TO and then her supervisor, Lucy never shied away from speaking her mind. In this case, she sees something they're missing. And she's not going to let them miss out on an important piece of the puzzle.

"You think it's personal?" "I mean, look, if I was gonna go to the extreme of targeting police officers, why not take out some of my enemies along the way?"

And with that, Lucy BadAss Chen cracks the case. No, I don't know if that's her legal middle name. But it should be.

My brain immediately goes back to Tim accusing her of a social media obsession that happened to crack a case back during one of the Documentary episodes.

There's no skirting around this one—it was all Chen.

"I'll take Moran." "You're not going by yourself." "I'll go with her."

Alright, Fierce Protector. You do you.

"You should be out kicking doors with Metro." "I'm good." "I don't need you protecting me."

Well, damn, I thought it was just me! I thought I was gonna be the only one in this Meta calling out Tim in the Protector role, but I guess my on-screen bestie had to chime in, too.

Also, bringing back "Good" in this scene, which truly feels like their word, and I love it.

Tim will always have Lucy's back. He knows that she is capable and strong, but he's also her boyfriend and spent a lot of time as her TO and then Supervisor. Worrying about her was a part of his job, and now it's an ingrained part of his life.

He's not trying to undermine her independence or capability. He simply wants to be close because then he knows she is safe and doesn't have to hold his breath wondering.

"So, clearly what you're saying is you need me protecting you." "Clearly. You know me so well."

It was pinging my brain, and I couldn't figure out why until someone pulled out the DOD GIF on Twitter and I started slow-clapping like a sports movie.

Yes, of course! When Lucy woke up in the hospital to find Tim by her side... as he is, now.

I kept seeing DOD parallels in this episode, and I'm strangely comforted that others did, too.

Plus, a return of "Clearly", which has been another of Tim and Lucy's words. "Clearly, Ashley's gotta go." "Clearly this isn't working out."

"I'm happy it's you at my six." "Back at you."

Major "We protect each other" vibes, and I bloody approve. Look, we know that Tim is a Fierce Protector. But he also knows that his girlfriend is a kick-ass bad-ass.

Now, we enter into a fight scene that is a bloody masterpiece.

Yes, I wondered why they emptied their clips at the Riot Shields, but I'm not a cop, so I don't know if there's some logic behind it I don't possess. Other than that... this fucking rocked.

Like, literally. I couldn't have been the only Xennial rocking out when Janes Addiction started playing! Someone go hug the Music Supervisor, Music Coordinator, Screenwriter, Director, or whoever threw that track out there, because it's bloody brilliant.

Tim and Lucy are working together, talking it out as they go. And we see all that time they've put into building their communication is really on display, even in a bloody battle.

"We stand a chance, but only together."

Hell, yeah, Lucy! I've been saying that all season. No, not in terms of having the high ground (rest in pieces, Anikan Skywalker's limbs), but in terms of getting through this thing called life.

Tim and Lucy stand a chance of surviving as Chenford through end of show only if they work together.

And on-the-screen in this particular moment, the same holds true.

"Pull not push, copy that."

Love. Them. Look at Tim taking the word of his capable wife and putting it into practice.

Tim and Lucy are literally fighting for their lives, here, and they are fighting together. When one's on the brink of being overwhelmed, the other is there.

Lucy delivers a strike to free up Tim. He takes on several at once, and she goes for the shield. I was screaming, "Hell, yeah, baby girl!" like the big sister I am to my on-screen bestie because she was crushing.

Tim is the master of pepper spray, I swear. He's used it in many creative ways, but super smart to go straight for the eye-holes on the masks to try to penetrate.

Lucy's close to losing consciousness when Tim rips the guy off of her, repaying the earlier favor of her freeing him up. It's a literal give-and-take... in a fight for their lives. This is bloody brilliant.

Nolan finally makes it up there, and Tim helps Lucy through the door to the stairwell, literally shielding her with his body.

Once inside, Tim has his hand on one of his favorite places—Lucy's leg. But this isn't a sexy-time touch. This is the, "Thank God you're alive" touch. If they hadn't worked together, that could have ended very differently.

"I have Bradford and Chen secured upstairs."

Chen and Bradford, sir. It's Chenford. Not Braden.

"You should be on your way to the hospital." "We'll go after."

At least Tim is saying he'll go. Like, seriously, this guy is the king of avoiding medical attention. And too often when he's gone in, he did so knowing nobody was waiting for him on the other side.

Now, not only is he willingly going to go in with his girlfriend, he knows that they'll leave together. Look how far our boy has come.

A Glance

Our last moment of Tim and Lucy is just a glance... a subtle glance between the two of them where that wordless communication comes in.

They've always have this layer to their relationship—communicating without a word. But it's so much deeper, now.

And as we reflect on the end of a season, I have to say it's been incredible to witness their growth alongside y'all in real-time.

This season has been an absolute roller coaster, and my first with all y'all! I started with 5x01, had to catch up, and have loved this whole journey.

Thank you all for being so welcoming to a late-comer like me. And thank you for reading!

Remember, love one another. Give yourself grace. Don't worry about "perfect" because it doesn't bloody exist. Go after your dreams. Fuck Fear. And believe in yourself, always.

And if you're not ready to believe in yourself... know that I believe in you. And I'm always rooting for good things to come your way. You've got this.

[beebopboom]

The Second…….Ball?

A bookshop, Eden, and something more?

In part 1 we discussed

the structure of the bookshop being similar to 17th century French gardens, a maybe hidden Tree of life, the idea of timestreams relating to the roads and rivers, and all that to just say the bookshop perhaps all of Wickber Street is their version of Eden

Part 1.5 was just a couple theories that have been floating around my head concerning

the book of life

the rings and a fly

the bookshop

a coffee

honestly I'm probably going to do a little editing. It’s not a necessary reading 

But finally made it to part 2 where I'm going to dive into some out of order events and two different parts of the same story being played out at the same time plus the actual main plot, specifically in the last two episodes - though there is probably more earlier in the season

you can imagine the jumble that has been brain and why it took longer than I wanted to get this out.

Background Info

In part 1 I mentioned that the Tree of Life was mentioned in two particular books in the Bible - Genesis and Revelations. Now we’ve discussed the Genesis part - Eden - and now we are going to talk about Revelations - New Jerusalem

The Book of Revelation is the only apocalyptic book in the New Testament and it's where the Second Coming comes from - written by a John. It was mentioned in season 1 and I’m going to be making a lot of references to it throughout this.

New Jerusalem is the place where all true believers will spend eternity with God and is said to have pretty similar features to Eden - the rivers, the Tree of Life, the wall, and a square shape. Something that this place is also said to have is 12 gates.

The New Jerusalem. Armenian manuscript by Malnazar and Aghap’ir in New Julfa bible, 1645

Oh lookie there mighty similar design to 17th century french gardens

But anyway want to take a guess at what has 12 windows?

*I used the fire to show what windows are connected to the bookshop*

Ok but let’s get into the actual point of this I’ve talked enough about set design

Have we already seen a version of the Second Coming? Why yes we have

In episode 5 we are following two different stories cutting back and forth between the two - Aziraphale’s and Shax’s

Now before I get into this I’m just going to say that I know Good Omens is a parody to actual Biblical events and who knows what is actually going to happen in season 3 besides the man himself. We do know that this season was setting up for the next and that parallel scenes are a favorite. So these are just some parallels I noticed if you place some characters into the roles of others and it could very well turn out to be wrong

Shax’s Siege

The thing about Shax’s character is that she is always looking for opportunities to get ahead and make connections that could benefit her later. We see it in 1941 and between then and now she has worked her way up from desk duty to Hell’s rep on earth.

And when she finally gets permission to attack the bookshop she actually takes up another role. Or shall I say multiple.

It is very obvious that once Shax gets to Earth she is out of her league - bitten off more than she can chew so to say - and yet she still wants more and is very good at manipulating beings to get there.

So she wants to storm the bookshop with legions of demons but only gets about 70. The thing that is interesting about there approach is you have demons coming from all four roads and she arrives last. And this is where we jump into Revelations.

In chapter 13 it talks of two beast - one from the sea and one from the land. The beast from the sea is said to have 7 heads, 10 crowns on the horns, is like a leopard with feet of a bear and the mouth of a lion, and one of its heads is said to have a mortal wound that is healed. This description has been likened to the four beast in the Book of Danial chapter 7 which were symbols of the four kingdoms - Babylon, Medes-Persia, Greece, and Rome. Some say this beast is the Antichrist as it is empowered by Satan to persecute Christians, blasphemy against God, and cult-like worship.

But all that to say I think that the arrival of the demons from all four sides was meant to kind of represent this. With the four beast representing the four kingdoms arriving on our four rivers roads. It’s not a perfect parallel but it is not meant to be - it’s meant to be a shitty rendition of what is basically Armageddon.

Now the second beast is mainly referred to as the false prophet. The only description is that it comes from the ground, two horns like a lamb but having the voice of a dragon. It has all the authority of the first beast and makes the inhabitants of earth worship the first beast, it breathes life into the first beast. It performs great signs like making fire come down from the Heavens to the Earth and causes all to be marked with the mark of the beast. Some call this beast the antichrist because it is performing miracles similar to that of Jesus.

This is the role I think Shax is trying to play - somewhat successfully. She arrives coming up out of the lift and through actions we see later kinda fulfill some of the rest of these points.

She also kind of jumps back and forth between these two beast with her authority - almost like she is not actually meant to be here, that they are all out of order. Mainly trying to be in the Antichrist position.

Shax is working the best with what she got.

But let’s switch over to our other story before we get to the confrontation

Aziraphale’s Ball

In his part of the episode we have been following him around as he invites people to this “meeting”. Crowley is also there for a little bit until he is brought back to reality so to say by Nina and eventually goes to confront Gabriel.

But back to Aziraphale who is going shop to shop in alphabetical order as is on the list on his clipboard. And this is where we start to get some Revelation parallels.

Whereas the Shax parallels started in chapter 13 Aziraphale joins in at the end of chapter 20 with the mention of the Book of Life - or in other words the list of names that are let into this New Jerusalem, that were God’s people.

Aziraphale having a list of people that he is inviting into his bookshop, a notorious place where he doesn’t want humans I feel is pretty significant. But all doesn’t go smoothly and he has to convince some people to come - I could go into each person he talks too but mainly he is using books and christmas lights to convince the people who don’t want to come. But what could those represent?

Books - eternal life for authors

Christmas Lights - the light that Jesus brought back into a world of darkness

Giving out the books/fruit of the Tree of Life so people will come to the ball/paradise hmm Aziraphale?

Interesting that we don’t see Mr. Brown’s shop on this list isn’t it? Keep that in mind.

But we continue on to Aziraphale decorating the Bookshop. With two scenes of him doing this one - moving the bookcases, or interior walls, and two - bring the chandelier down

In chapter 21, John is said to have seen New Jerusalem and New Earth descend from the Heavens - noting that there was no temple,

This could be paralleled to the scene where Crowley is looking into the Bookshop watching as Aziraphale has a chandelier descend from the ceiling.

It’s also important to note at this point that Gabriel arriving quite literally upended their lives and inadvertently set off the very same events he didn’t want to happen, The Second Coming. With him acting as a Jesus parallel.

But back to what is happening with Aziraphale. People are starting to arrive!! And he is changing their clothes?

Revelation 22:14 - Blessed are those who wash their robes, so they may have access to the tree of life and they may enter the city by the gates.

Washing their robes is meant to symbolize a full cleansing from sin that they must be free from to enter New Jerusalem

So Aziraphale is changing (washing) their clothes to make them acceptable for the ball (New Jerusalem)

Now you may be wondering how would you even prove that it happened? The seamstress conversation is how.

On one side it probably was how people from the time period Aziraphale is trying to create talked but it’s also removing the nature of the “sin”

Aziraphale does not even know what she technically does and yet it is still changed. When Mrs. Sandwich later tries to say what her job is she can’t actually say it and has to describe it - all using sewing terms. She even calls out at one point that the “devil may take it.”

But why? Aziraphale doesn’t even know and if he did I doubt he was care very much - unless something else was at play here.

Heavens standards - which in this universe includes adultery as bad, as a sin. We see examples with the references to Solomon and Gomorrah and “Thou shall not commit adultery Pulsifer”

The way she describes it as well leans towards this angle as well. With the “in want of the tender attention of a wife”

But back to Jim though who throughout all of this has been our Jesus parallel - he is out mingling with the people for the first time dressed in a wonderful blue suit.

Revelation 22 - The throne of God and the Lamb are in the city, and His people worship Him. There is no night and no need for other sources of light, for the Lord Himself gives the light, and they reign forever.

God and Jesus finally walking among and interacting with their people - and Jim seems to be having a grand ol time

yes i’m putting Aziraphale into Gods position- tricky business there i know

There is also some more references with the Candelabra’s that are around the shop - both the 3 and 7 versions. These guys have a bunch of different meaning but the ones that really stick out is The Holy Trinity and the Seven Angels or the Seven Churches

(I also had this whole bit planned about the temple which is said to be destroyed in the Second Coming of Jesus because it now holds no place in Jerusalem because God and Jesus are now among them and relating it to the Second Temple. I’m a bit iffy about it though just with some of reasoning but that was the basics of it - I might end up coming back to this at some point)

But all this to say that Aziraphale has basically made his version of paradise - unintentionally mirroring what is said to be the real one

The Collide

And our two stories meet….somehow. We left off with Shax in chapter 13 and Aziraphale in chapter 22 so quite a bit has to happen to get them to the same place - and it does a little bit out of order

Things come crashing to a stop quite literally when the demons throw the brick? wall piece? through the window. Shax makes her threats particularly to the humans. Perhaps because they don’t have the Mark of the Beast? Which they would need to buy things and as we know from Jim earlier, they aren’t selling

But the next big event is Jim walking out of the bookshop

which has been linked to this pose

and continues Shax’s story into Revelations 14

Revelation 14:14 Then I looked, and behold, a white cloud, and on the cloud sat One like the Son of Man

but he is also start Aziraphale’s story back up when he goes back into the shop - just going backwards now

Revelation 20:5 The rest of the dead did not come to life until the thousand years were completed. This is the first resurrection. How fortunate and holy is the one who has a share in the first resurrection!

Mr. Brown then gets grabbed and thrown out of the shop, remember how his shops name wasn’t on the list? His name is not in the Book of Life therefore he is thrown into a Lake of Fire

Crowley then brings the humans back outside telling them to go back to their shops thus removing them from New Jerusalem and reversing judgement

and then he exits the stage as well and our jumping around really begins with episode 6 - so quick-fire

Shax gains confidence in her attack as soon as she notices Crowley has left and while this is happening Aziraphale put the chandelier back…. from wherever it came from. Effectively undescending New Jerusalem and putting that behind them as they work to meet up to where Shax is at in the story.

Aziraphale starts setting up the portal and tells Shax she is not welcomed here

Revelations 14: 9-11 - Then a third angel followed them, saying with a loud voice, “If anyone worships the beast and his image, and receives his mark on his forehead or on his hand, he himself shall also drink of the wine of the wrath of God, which is poured out full strength into the cup of His indignation. He shall be tormented with fire and brimstone in the presence of the holy angels and in the presence of the Lamb. And the smoke of their torment ascends forever and ever; and they have no rest day or night, who worship the beast and his image, and whoever receives the mark of his name.”

Demons throw trash into the bookshop and Aziraphale runs off to tell Jim to hide leaving Maggie and Nina to deal with Shax

Revelation 14: 17-20 Then another angel came out of the temple which is in heaven, he also having a sharp sickle. And another angel came out from the altar, who had power over fire, and he cried with a loud cry to him who had the sharp sickle, saying, “Thrust in your sharp sickle and gather the clusters of the vine of the earth, for her grapes are fully ripe.” So the angel thrust his sickle into the earth and gathered the vine of the earth, and threw it into the great winepress of the wrath of God. And the winepress was trampled outside the city, and blood came out of the winepress, up to the horses’ bridles, for one thousand six hundred furlongs.

Maggie is then manipulated by Shax to let the demons in the shop

By this point I think the true role of Shax has come into play and it’s a nod back to Madam Tracy. The role is in Revelation 17 - The Whore of Babylon - the epitome of sin, ruler over 7 kingdoms, quick with her tongue and good with her words, draped in the finest clothes of purple and scarlet 

Demons start to enter the shop and Aziraphale activates the portal - Shax discorporates Eric and we see Jim’s position on the stairs above everyone

Revelation 15 - The Seven Plagues - yes I know they haven’t quite got to anything else besides the portal and even then they don’t use seven different things but this chapter really is just setting up for the next and I wanted to mention one thing before moving into the next

Revelation 15:8 And the temple was filled with smoke from the glory of God and from his power, and no one could enter the temple until the seven plagues of the seven angels were completed

the smoke coming from the demons discorporating and the fire extinguishers while Jim is absent

Demons start stepping into the portal - Maggie, Nina, and Aziraphale have to come up with another plan - Demons push book selves over and Maggie and Nina start with the fire extinguishers

They have now gone up the stairs to the second floor of the bookshop for the first floor has been over taken by the demons - Aziraphale charges Shax to leave this place - Shax starts to insult Aziraphale

Revelation 18:2 With a mighty voice he shouted: “ ‘Fallen! Fallen is Babylon the Great!’She has become a dwelling for demons and a haunt for every impure spirit, a haunt for every unclean bird, a haunt for every unclean and detestable animal.

Jim is sent away after asking if anyone wants hot chocolate

I don’t have anything to compare this to. I just think it’s interesting that Aziraphale(and Maggie and Nina) were offered hot chocolate and declined, especially with all the talks about coffee vs death

Maggie and Nina continue with the fire extinguishers - and then they start with the books - no more fire extinguishers or books and Aziraphale pulls out the old Halo trick

Revelation 16 - Bowls of Wrath - now the chapter with the actual description of the seven bowls. By now we have seen all of the moves Aziraphale, Maggie, and Nina pull but I really wanted to point out the comparison of the last bowl particularly what happened afterwards and the Halo so,

Revelation 16:17-20 The seventh angel poured out his bowl into the air, and out of the temple came a loud voice from the throne, saying, “It is done!” Then there came flashes of lightning, rumblings, peals of thunder and a severe earthquake. No earthquake like it has ever occurred since mankind has been on earth, so tremendous was the quake. The great city split into three parts, and the cities of the nations collapsed. God remembered Babylon the Great and gave her the cup filled with the wine of the fury of his wrath. Every island fled away and the mountains could not be found.

All demons are discorporated with Shax unconscious on the couch

Revelation 19:2 for true and just are his judgments. He has condemned the great prostitute who corrupted the earth by her adulteries. He has avenged on her the blood of his servants.

Revelation 19:20 And the beast was captured, and with it the false prophet who in its presence had done the signs by which he deceived those who had received the mark of the beast and those who worshipped its image. These two were thrown alive into the lake of fire that burns with sulfur.

and with that it is over

so yeah that was a lot and it’s not perfect but remember when it was mentioned back in season 1 it was among prophecies that were not entirely accurate and that it was a rushed, only kinda planned attack. So really I just view this as very quick run down version of the Second Coming where there is not enough players

plus you have Crowley’s side to this story which seems to be the reality - dealing with the actual problem that has been going on throughout the season (Gabriel) instead of hosting a Ball or trying to make a power play

but if you made it this far have a little treat in the spirit of the holiday season, or if you don’t celebrate anything than just for getting to the end of this

New Jerusalem was also described as "the bride, the wife of the lamb” - and we all know that Ball was for Aziraphale and Crowley, as much as he may deny it, so really Aziraphale was saying “let’s get married, I’m your wife now”