#which looks as old as any of aziraphale’s books at this point

[legally-allowed-to-slime]

GRIAN DRESSED UP AS CROWLEY FOR HALLOWEEN? as a hermitcraft enjoyer and a terry pratchett #numberonefan i am losing my mind. if u care.

[dalliancekay]

Aziraphale does NOT need to suffer MORE

Can't believe I have to say this. TW: grief, mourning, death (sorry) I have, since falling into the fandom 6 months ago to escape real life, seen many takes on how Aziraphale needs to (or at least should) suffer in S3 to match Crowley's suffering. As the counterpart to the moment Crowley thinks he lost Aziraphale as he's looking for him desperately in the burning bookshop....

...after this he drinks, we suppose, to dull his pain, waiting for the Armageddon. Or, for the way Crowley suffers at the bandstand argument, the 'I Forgive You' moments, which many people find utterly devastating and incredibly heartless from Aziraphale. Not to mention when he doesn't react in the 'right way' to Crowley's confession in the Final 15. And then on top of that, 'abandons' Crowley. For Heaven. Oh and also for, and I quote: "The smug and entitled way Aziraphale went around in S2 assuming Crowley would love and follow him everywhere." And so for all this pain that Crowley endured for him, Aziraphale should suffer in S3 (to I assume) even out the scores. Or... to deserve Crowley. Some people also want to see him lose it, show his emotions, to cry or beg or otherwise show how much he misses Crowley and how very sorry he is for what he has (so thoughtlessly) done.

Now for the TW grief content I motioned above. You can skip to the next sentence in bold.

I was on holiday late September last year, visiting my mum, stepfather and my two younger brothers. We went to a cousin's wedding. It was great. The day after, as I was hanging out reading a book, my mum got a call. The kind of call every mother fears. My youngest brother (he was 27) died in an accident. We needed to speak to police and the coroner. She cried and cried. She's still crying. She asks questions. She gets no answers. I...did not cry. I talked to the police. I googled a funeral home. I bought my brother his last set of clothes. He lived in a hoodie and torn black jeans. Mum wanted a suit. I texted a lot of people. I bought snacks for the many friends who came to the funeral and wanted to speak to us after. My grief feels like a vice. I am not sad. I do not appear sad. Contrary to what people expect. But I am ANGRY. I am furious. But nobody can see this. I am not fine and I wish no one would ever* ask how I was again. TW/Personal content over. WE ALL SUFFER DIFFERENTLY Since I was small (because I am weird like that) I genuinely wondered if, finding myself in danger, I could scream like people in films do. I don't think I could. I cope with hard situations, fear and stress and anxiety by shutting down, sometimes by retreating as well, and by furiously (but quietly) trying to find a way out. And I think Aziraphale does the same. And that's why I love him so much. And why I feel I get him and understand that people sometimes can't tell how much he's actually feeling. I also express love the way Aziraphale does - by organising things for people, inviting them places, making plans. When Crowley said you call me for three things (and it's basically any old reason) I felt SO SEEN. This is what I would do with a friend who I know is feeling unmoored, sad, stuck (Crowley's 'What's the point of it all' at the beginning of S2). I'd text them with any old thing. I'd never actually say I love you, but I would try to get them to talk, meet me, go somewhere. Aziraphale does not express emotions the same way as Crowley.

But his emotions are valid nonetheless. He is worried for Crowley from around 3 minutes into their acquaintanceship. And he NEVER stops worrying from then on.

And are we quite sure he has never lost Crowley?

How many times did Aziraphale's heart freeze in horror when he realised Hell has taken Crowley and he had no idea if he'll ever come back and what is happening to him?

How did Aziraphale spend the night after vanquishing the demons and starting a war? He had no idea where Crowley was. What happened to him. He was probably sick with worry that Hell just took him away. We didn't see him drink and cry, but surely, the worry must have been overwhelming. The wait for what will happen now.

ALL his worries over the Arrangement. Was he worried for himself? Do we really think that?

Crowley thought he lost Aziraphale in S1, yes, we saw that. And what happened to the angel then?

He got blown into atoms which I bet wasn't pleasant and when he arrives in Heaven he limps. Why is he hurt? And why is he quickly pretending he isn't? Why is he always hiding how he feels? Also, he immediately deserts, wants no part in the Holy War and quickly finds an extremely unconventional way to get back. It's not a grand gesture, he doesn't deliberate, doesn't worry that he will Fall (although surely that must have been what he thought will happen if he survives this), there's no pomp around it, he thinks it and then does it. No hesitation.

Is this coming from an angel who just can't leave Heaven behind and longs to be a part of it? Who loves to follow rules? And let's not forget in those moments Aziraphale thought Crowley was most likely gone. That he probably left for Alpha Centauri. Last he heard from him he was told he was talking to an old friend and had no time for him. Why we NEVER talk about how that might have felt for Aziraphale? About his sadness?

Things are not as simple as Aziraphale has been supressing his emotions and lying to himself about how he feels and he should get over it and become free. That's not how this works. First of all, he was suppressing his emotions OUT OF LOVE. His main goal was always to keep Crowley safe. They simply couldn't run away or hoodwink Heaven and Hell. They had nowhere to go. They had no hope and yet they kept loving each other. That's courage. I know we all grew up with Romeo and Juliet and Heathcliff and Cathy and we FORGOT that those were CAUTIONARY tales. And this is not what Aziraphale wants for them. He would never allow himself to go so fast he would hurt Crowley. He feels guilty enough for agreeing to the Arrangement and for meeting Crowley at all when he knows they can be discovered and punished at any point. And Crowley knows it and RESPECTS it. He does not tolerate Aziraphale's decision to not go on a date and to hell with circumstances. He understands Aziraphale's reasoning and he respects Aziraphale's decision. Don't forget, they have NO POWER. They can't change Heaven and Hell. They can't stop believing in God and work on their religious trauma. Their Heaven and Hell are real places with real power and they both BELONG to them. Aziraphale's trauma and his personality are deeply intertwined and he'd probably never be the kind of person who is open in showing their grief or stress like Crowley does. He will learn to be more open, I'm sure. With his love especially, we see him reaching for and touching his demon in S2. Openly being with him, looking at him without guarding himself. They got a little bit of freedom for themselves despite ALL odds. So. Just because Aziraphale is not crying and screaming and I dunno, tearing his hair out or whatever some people would have him do, does not mean he isn't overflowing with pain, fear, uncertainty, doubts, worries, and so much anxiety that if he let it all out, half of the solar system would turn to ashes.

Aziraphale does not need to suffer in S3 to level out Crowley's suffering. They are, unfortunately, equal in their pain as they are in love. If there is one thing Crowley would never abide, it'd be this take from the fandom. * One more note on grief: (obviously from my personal experience) As initiated by @anthony-crowleys-left-nut in a comment

It's not that I mind to know people care and worry etc, not at all. But asking how I am can only end up in me lying (fine, thank you) and both of us knowing it's not really true and feeling awkward or not lying (I feel like shit, mostly cos I can't sleep and think the world is a stupid, unfair place) and both of us feeling awkward anyway. Does that make sense? I wish I could tell friends/colleagues to ask what I've been up to or something similar instead. What I've been reading (um, AO3, but I'll make something up), watching, do I want to go see some spring flowers bloom (I do). I think...this would probably work not just for someone who is grieving but also for someone who you know is dealing with depression for example or a serious illness etc. Edit 2. It's now almost (in 15 days) a year since my brother died. The random attacks of pain and grief have lessened and I have started to do more of the things I enjoyed before... and I am able to answer how are you questions without feeling like they are trying to mock me (the questions, not the people). So I suppose things do get ... lighter? More diffused? I'm not sure. Because it's still exactly as unfair that my brother has not lived this past year as it will be however many years I will be here without him I expect.

[santacoppelia]

Putting the Meta in "Metatron"

(couldn't resist the pun, sorry)

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

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

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

obviously not tailored (almost ill fitted)

in dark tones

looking worn and wrinkled

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*exits, pursued by a bear*

[ironyscleverer]

Good Omens Book Racism

This essay was originally a reblog of this post, but I’ve decided to make it a post of its own so it’s a little easier to read.

***

Rather than diving straight into examples from the text, I want to take the time to explain my intentions/goals for this little essay. Sorry if it's boring, but I do think it's important.

First, I want to clarify that I'm not just taking the opportunity to dogpile on NG by calling him racist. The people who commented that TP was equally responsible were 100% correct! Rather, I hope that now that we know NG isn't a good guy for other reasons, people will be more receiptive to my critiques of the book without jumping to the authors' defense.

I also want to note that I believe every instance I reference in this essay is not in the show. Someone in production clearly recognized that the book didn't age well, and quietly removed the bad bits without a word or a guilty speech. I think this is part of the reason why the fandom hasn't really addressed these moments; the show cut a lot of the racism, cynicism, and generally icky bits. The overall the tone of the newer content is very different and much sweeter. Personally, I prefer it this way!

Most importantly, though, I think a lot of people reading this might wonder--why talk about racism in a book that's 30 years old and has a modern adaptation that fixes almost every problem? Isn't it normal for old books to be a bit suspect? Why go through the effort of bringing it up?

The answer is that it's less about the book more about the fandom; the fact of the book being racist isn't the problem--I fully understand that it's 30+ years old. But the fandom is alive and well, and the lack of discussion is what feels weird to me. I was disturbed by the book when I first read it, and finding nobody online who felt the same way was a bit isolating. I had to wonder if other fans didn’t notice any racism, didn’t remember, or just didn’t care. By talking about racism, by making it clear that yes, we notice and we remember, i think we can make the fandom a more welcoming and inclusive space.

So really, my only goal for this essay is for it to exist; I want it to be out there so that if someone else, like me, goes looking for online acknowledgment of racism in the book, this will be there for them to find.

I think you get the point. Let's move on to the actual substance.

I’ve selected three specific passages from the book for us to examine, as well as a few other moments that I’ll describe, but won’t directly quote. Let’s start with the most obvious (to me) example of racism, which takes place on the whaling ship:

“The captain drummed his fingers on the console. He was afraid that he might soon be conducting his own research project to find out what happened to a statistically small sample of whaler captains who came back without a factory ship full of research material. He wondered what they did to you. Maybe they locked you in a room with a harpoon gun and expected you to do the honorable thing.”

To be clear, associating Japanese people with honor and ritual suicide is a racist stereotype. Writing a Japanese character this way is racist, full stop. Later, the navigator also refers to the captain as "honorable sir." This is probably in reference to the different levels of politeness that exist in the Japanese language. However, frankly, I'm mixed Japanese, and seeing any white person using the word "honor" in reference to Asian people makes my skin crawl. Even ATLA is on thin fkn ice (although the fact that it's literally just Zuko helps a lot).

This passage is the most clear-cut example I can find of racism in that it fits into the framework of "author makes x joke, which feeds into y racist stereotype." However, there are other moments that may not directly do this, but definitely are sus enough to make you think "why tf would you say that." For example, this is how the narrator describes Aziraphale when he drives Anathama home:

“As soon as the car had stopped he had the back door open and was bowing like an aged retainer welcoming the young massa back to the old plantation.”

I can't even begin to logic my way through whether this is technically racist or not. I'm still back at wondering why on EARTH would anyone choose to write this description. It’s just repulsive. Purely based on how I feel reading it, and how I feel imagining a white man writing it, I'm gonna go with yes, this is racist.

Another example of a similar variety would be this moment, when Crowley is trying to get to Tadfield:

“It's all out of control. Heaven and Hell aren't running things any more, it's like the whole planet is a Third World country that's finally got the Bomb…”

Again. Racist? Maybe? It shows a dismissive attitude toward "the third world," which I suppose isn’t explicitly non-white, but mostly it’s just weird and uncomfortable. It's less about the actual offense and more about the...why did the author write that.

There are more such moments throughout the book that I could mention, such as the half-assed attempts at AAVE and Caribbean dialect (I think Haitian? it's when Azi is searching for a host). There’s also that whole affair with Madam Tracy and her Geronimo character. I assume that one is meant to reflect badly on her, but in the back of my mind there’s still the knowledge that the authors chose to put it there.

After a point, all these individual moments start to blend together, and the possible motivations and excuses become less convincing. Maybe on a case-by-case they can be written off as characterization or irreverent humor, but in the aggregate they’re just unpleasant. Again, my overwhelming thought is just, "Why?"

Ultimately, that question, "why would the author write that" is at the center of my critique of the book. More specifically, the question is "why do these authors, given their identities, feel comfortable writing the things that they do?" In this case, it's clear the authors, as cishet white British men, thought these kinds of racial comments were funny and didn't have the social consciousness to know better. It belies a kind of arrogance, audacity and frankly entitlement that only people with their social standing tend to possess.

Anyway, that’s all I have for now. I hope this was enlightening for some people. I just wanted to provide a little bit of perspective, and maybe reassure some other fans that have recognized these things, but haven't seen them discussed online before. To them I'd say: don't worry, you're not the only one.

[twelvemonkeyswere]

I re-read Good Omens via audiobook and I just collected my favorite details

"Crowley rather liked people" is a quote I still love so much. Even though he is a demon with the job of making people upset each other, he likes humans. The contrast between what they make him do and how he experiences Earth.

That scene with the ducks where Crowley almost drowns a duck and Aziraphale is like "I say, my dear" and Crowley is like "Oh yes I forgot myself" and allows the duck to return to the surface. Crowley is usually very polite about the most unhinged things which I just find endearing

All the times Aziraphale calls Crowley "dear boy"

The fact Aziraphale has "exquisitely manicured" hands lmao. I like to think he does go to the manicurist, same as he has a proper barber in the show

Aziraphale blushes sometimes and often gives mean looks to customers to push them out of shop

I like the on-going theme in the Good Omens universe of wanting to build a better world for loved ones, but how that drive, when taken to an extreme, is self destructive. Adam says he'll make the earth good for the Them, and will make sure the Them will be protected and happy in it. But the Them don't want it, they understand Adam is acting out and is not thinking things through. There is no point in trying to possess something and bend it to will forcefully. It wouldn't be good. It wouldn't be of free will. It would make them just another of his whims and no one, either the Them or Adam, actually want that

Aziraphale thinks Crowley is a creature of God when you "get right down to it", which is a thought both meaner and kinder than he realizes

Crowley is described to have "a voice so laid-back you could lay a carpet on it"and it's my most favorite thing ever lmaooo

"You're seducing women here!" /"I think perhaps you got the wrong shop" is always a brilliant line

Even though everything in the Bently turns into Queen's Greatest Hits, I love that Crowley actually loves music, and keeps his collection of records highly organized

Also love the fact that Crowley keeps his apartment orderly, though that's probably in big part because he doesn't really live there

I do appreciate that Crowley sleeps because he wants to, not because he needs to. Truly a relatable guy.

There's a big HOLY SHIT moment in the audiobook - the speech the American evangelist gives about the apocalypse. It's fucking incredible. The actor is amazing, delivering fire and brimstone and absolute hatred and certainty until Aziraphale pops inside of him.

Death really is Azrael, literally the angel of death

Aziraphale comes up with the solution at the end but ONLY because of Crowley, who challenged Aziraphale about the difference between the great plan and ineffable plan at the very beginning of the book

There are many moments where both Crowley and Aziraphale are thought to be a gay couple, but it really made me laugh that they are at the end of the world, telling each other it's been a pleasure to know each other all this time, and then Shadwell interrupts to call them "Nancy Boys"

Everyone in the Good Omens fandom is right, I do love that in the book, the wings of demons and angels are the same color

Crowley thinks the biggest battle will be heaven and hell vs humanity. This has got me thinking a lot. I figure this is because at some point humanity will rebel against any divine intervention, once we figure out that heaven and hell have been playing dice with us. But we'll see.

It does warm my heart that the story begins and ends with a garden and with the eating of the apple - Adam doesn't know why the old man hates people touching his apples so much, but the world would be a lot less interesting if he didn't. It's a fitting end for a fitting beginning.

[crowleysgirl56]

Books Omens! Reading to my son part 2.

Been a while since the first update. We are now up to chapter Saturday and Crowley has just trapped Hastur in the answering machine.

Things of note:

- my son loves the horsemen and is disappointed that there isn’t more of them so far in the story (we haven’t got to the biker bar yet, so I’m looking forward to his reaction to that).

- he was also incredibly indignant about the poor delivery man having to die to deliver his message to Death, and thinks this is stupid and an incredible waste.

- he HATES Shadwell (he was not impressed that he essentially discorporated Aziraphale) and decides he was EVIL! We then had to have a rather long discussion about shades of grey, prejudice, narrow mindedness, and how people aren’t inherently evil because perhaps they don’t know any better or need to be better educated about things.

- I’ve suddenly noticed that there aren’t any flashback sequences. I honestly don’t remember this about the book. I had basically forgotten the liberties NG took with all those additional scenes you get between Crowley and Aziraphale in season 1. I think I had forgotten that this was one of the reasons why I felt season 1 is the best adaptation of anything ever, and improved upon the source material.

- on that account, I had forgotten just how little A&C factor into the middle part of the book. There isn’t any argument or disagreement between them. It goes from Aziraphale reading the prophecies, to being discorporated by Shadwell. Crowley similarly is just hanging around his apartment feeling pensive about everything until Hastur and Ligur show up. It’s interesting that there isn’t really any conflict between Crowley and Aziraphale.

- one other thing I forgot to mention in my previous post, no wall slam. Just Crowley cutting Aziraphale off and continuing on the mission. Also that whole scene at the old hospital is set at night.

- the description of Crowley’s apartment is interesting because of how aesthetically different it is to the show. Far more white and bright.

- also this took me off guard. I literally stopped reading and exclaimed “Wait, beds?!”

- shout out to the cute Crowley as the letter C at the start of the page. Adorable!

- also, as this chapter is about the holy water, do we find out later how he got the holy water? Because it’s not described beforehand about Aziraphale giving it to him. I’ll have to come back to that once we reach the end.

- lastly, going back over the previous chapters I had already read, I came across this which suddenly struck me:

Agnus’s prophecies were published in 1655. Which is one of the years Aziraphale was supposed to have done an apology dance. Very interesting.

Edit: it was pointed out in the comments that Aziraphale did an apology dance in 1650, not 1655.

[weirdmorefics]

How Are Hands Attractive? (crowleyxreader)

Pronouns-She/Her

Word Count- 1,078

Summary- Reader is a witch and close friends with Aziraphale and works at the bookshop restoring books. Aziraphale asks Y/n for romantic advice for Nina and Maggie which leads to interesting covo about Crowley hands.

The day was stormy there was hardly anybody out on the street because of the terrible thunder and lightning. I was peacefully sipping her cold coffee and restoring an old spellbook that Aziraphale found. The sound of the rain was very soothing and I did not have to worry about Jim short for Gabriel bothering me because Aziraphale told him bookstores are closed on Wednesdays. Aziraphale on the other hand kept interrupting my work so he could get my opinion on most romantic situations for Nina and Maggie.

"Y/n what do you think is the most romantic thing?" Aziraphale asks.

" I don't know. Hmmm maybe leaving me alone so I can finish restoring this book in peace," I respond.

"Seriously, Y/n the book can wait! This matter is of life and death! You are sort of human so you should know more about these things than I." He says looking me very seriously in the eyes.

I sigh and very gently move the book to the side. I take a deep breath " I have personally always found hands very attractive-"

Aziraphale interrupted "How can hands be attractive? They are just helpful tools. Books always say it's the eyes that are the windows to the soul."

"Don't get me wrong eyes are pretty as well but I have always enjoyed hands they help us create they help us hold on to each other. Why did you even ask me anyway if you're just going to think I am wrong. Also, I think we both know I lack any experience or knowledge on romance." I respond annoyed.

Aziraphale smiles at Y/n, "I guess I was just curious." Then his eyes light up like something just clicked in his mind. I think if he was a cartoon a light bulb would have appeared above his head.

"Y/n!" He gasps and I give him an inquisitive look. "You are always staring at Crowley's hands so does that mean!!!"

I quickly crossed my arms across my chest denying the accusation profusely.

Crowley enters the bookshop closing a soaked umbrella, "Who is always staring at my hands."

Y/n's heart nearly pounds out of her chest and she nearly knocks over her coffee.

"Don't tell me you haven't noticed-" I quickly cut Aziraphale off

I come out from behind the desk I was working at and take the umbrella from Crowley, "Don't tell me that you were outside in this weather with an umbrella you could have got struck by lightning."

Crowley lifts his glasses down to look ME in the eyes "Are you serious? A demon struck by lightning would do nothing compared to the heat of Hell."

"How should I know I've never been to Hell," I whine.

Crowley kisses the top of my head and says "And you never will."

Aziraphale smiles a plotting a smile that scares me for what he is planning. He cups his chin with both hands and tilts his head "Crowley what do you find most romantic? Y/n has been telling me what she finds most romantic to help Nina and Maggie. I can see she has quite the type. I think we might even know the guy."

Crowley's face seems to turn sour at Aziraphale probably at the notion of discussing romance so I try to assure him it is unneeded to chime in. "Please ignore him he has been like this all day. He has not let me get a single thing done today."

Instead, he completely ignores me and walks up to Aziraphale, "So what does this man that Y/n fancies have for qualities that make her swoon."

"No, I can't say that would be betraying her trust," Aziraphale puts a hand on his chest and makes a big show of it like he didn't just start this whole mess.

"Come on Angel we are all friends here! Right Y/n? What can you tell the Angel that you can't tell me," he pouts.

"You bring up a great point, Crowley! Y/n can certainly tell you about the man she fancies I don't see a reason she could not! Let me start off I know she loves this man's hands she is always staring at them it is so obvious." Aziraphael smiles brightly and if my glare back could kill he would be dead.

Crowley circles me like prey as if my answer could cure him from hunger. "I've never noticed our little sorceress staring at hands that's very impolite to stare you know."

He calls me a nickname he uses for me frequently as he knows it annoys me. "You know what's impolite to spill others secrets Aziraphale" I glare.

Aziraphale straightens his bowtie, "You never said it was a secret if you had I would not have said a peep. I am very good at secrets you know"

"The thing is I just don't understand why there is anything to hide from your good old pals!" Crowley interrupts. "Unless this guy is someone unworthy of our sorceress's heart. Then in that case Aziraphale would have a duty to tell me."

"Do not be concerned this man I have known longer than anyone. No one could compete with him he is very kind." He quickly assures Crowley.

Crowley started to look like that time when Aziraphale took Gabriel under his protection, "So he is an angel... those are the only beings you have known for the longest. I swear to Hell if it's Gabriel he is not kind Aziraphael you have no idea what he said to me when I was you! I can not believe you let him stay here! He is worse than any demon!"

I quickly put my hand on Crowley's shoulder, "It is not Gabriel I would never do that to you."

Crowley's eyes softened as he looked into your eyes but only for a second before they turned into confusion, "What other angel do you even know on a personal level!"

I saw no choice but to come clean, "It's you! You idiot!"

I took a deep breath to prepare myself for the heartbreak because I am no celestial being who will be around forever. I am just a witch I am really not that different from an ordinary human. But the heartbreak never came instead he held my face and kissed me deeply.

I was stunned speechless and he smirked "So you think my hands are romantic you say."

Bonus-

Aziraphael- Now both of you thank me! I also accept books as thank-yous Y/n has a list of the books of that I am on the hunt for! I also made photocopies of the list so you can carry the list with you at all times as a reminder.

Y/n- Shut up, Angel!

Crowley- Thank you, Angel

[aziraphales-library]

Hi! Thank you again for all the work y'all do it's amazing!

I was wondering, is there any fic about the burning library of Alexandria?

Have a great day/evening!

Hello! We actually have a #the library of alexandria tag with a couple of posts, so check those out. Here are more to add...

That One Time in Alexandria by mageofthepeople (G)

A fun little fic in which Crawly has an assignment he needs some help with in Egypt and he makes Aziraphale an unwitting accomplice. Also they have dinner and a gift is bought.

A Gift, Long Lost by AirBlade172 (T)

'That was when Aziraphale collapsed. His knees hit the floor with a thud and he looked around as though a mortal man shown the divine. He was silent for so long that Crowley started to fidget.' After catching Crowley surreptitiously examining the walls of his shop for what must be the hundredth time, Aziraphale forces the demon to confess he's lost something that he had hidden there for the angel.

Into the Ashes by babyrubysoho, rainbow_salt (T)

As the Library of Alexandria is burning, Crawley spots a distraught Aziraphale and helps him out.

With The Roar Of The Fire by Eccentric_Grace (G)

Aziraphale’s shuffled off to the side, looking Crawly disapprovingly through a side-eye. “It would be a shame if the books all burned.” “What are you going on about?” Aziraphale squirmed around as if he was having a fit, scrunching his face up and nearly almost stomping his foot. “The burnings, Crawly! The fires!” or: the year is 48 b.c. and crawly is in a fight for life against his own pining and a burning hatred with julius caesar.

Papyrus, Parchment, & Paper by Sodium_Azide (M)

The Library of Alexandria is the jewel of the empire, and the pet project of the pharaohs. The head librarian is making it a true nexus of goodness and shared knowledge. Hell can't let that stand. They'll send their best demon to destroy it, and who is better at big wins than Crawly?

When The edges start to Burn by IcarusSoars (T)

Crowley never thought twice about anniversaries before; It was just another one of those silly things humans decided needed celebration one day. Crowley never really saw the point of it. That was until a bright card caught his attention while on a normal food run for the fussy angel. Aziraphale and him celebrated many things over the years, but the day they met was never one of them. Well, it wasn't like their old sides were going to stop them after that stunt they pulled. No, nothing was stopping Crowley from surprising Aziraphale with the last scroll from The Library of Alexandria over a candlelit picnic on their anniversary. Maybe except for the fact that he had to find the damn thing first, and lying to Aziraphale about the whole thing was even worse. Maybe Crowley should have known those old guardian instincts never went away. Alternately: Crowley goes on a wild goose chase to locate the last intact scroll from the Library of Alexandria and Aziraphale is beyond concerned when the demon starts reeking of desperation.

- Mod D

[actual-changeling]

Welcome back to a meta post that was not supposed to exist, but I fucking love answering questions, so here we are.

i got an ask (the answer contains a tl;dr) about why I think Crowley has unstable relationship patterns, and the following will be a detailed look at why this is the case, how Aziraphale plays into it, and what it ultimately means for the two of them.

This won't be as unhinged as my usual analyses, so consider this a special edition of Alex's unhinged meta corner - now hinged.

As always, please remember that this is my personal interpretation—not a generalization—and that genuine questions are welcome, either here on the post or in my inbox!

Everything I will say is based on research I have done, books & studies, and many, many conversations with my therapist (and at points my psychiatrist too); just so you know I'm not making shit up as I go.

Now, in the context of trauma-related/based disorders, what exactly does it mean to have unstable relationship patterns, and how does it apply to Crowley and Aziraphale's relationship?

Canonically, heaven does not care about what Aziraphale is doing and they are not keeping an eye on him. We know this both from references in the script and their dialogue and what we see throughout the show as a whole. That "fear" of being found out should he openly commit to Crowley is, for the most part, self-fabricated.

Yes, hell would potentially punish him (that potentially is another long post), but that is not something Aziraphale gets to take and use against Crowley, and the fact that does it anyway to 'prove' that he is not behaving incorrectly is a big issue.

What that leaves them with is a very common and well-known relationship pattern that requires a lot of self-awareness, control, and work to break it.

Aziraphale and Crowley get closer, spend more time together, their relationship grows and the intimacy increases, resulting in their behaviour changing to reflect that. They go on more romantic-coded dates (e.g. 1827, whatever the fuck 1941 was), eat together more frequently, drink together and feel comfortable enough to get drunk drunk while in each other's company—which always carries the inherent risk of doing something 'forbidden' while their impulse control is lowered.

I think the second episode of season one is actually a great example for all of this. When they drive to Tadfield, there's a mutually respectful conversation, they tease each other, they bicker like an old married couple, and don't fall into blaming the other for the situation they're in. At the manor, they are openly flirting from the start, laughing about the paintball guns and blowing kisses to miracle away stains, and the wall slam scene honestly speaks for itself.

I wrote a detailed analysis of it right here, which contains the conclusion that the entire interaction was intentional and orchestrated by the two of them.

They are doing great, they're comfortable, intimate—both physically and emotionally—and their sides are already on their asses about the apocalypse, so why not commit to the relationship?

Because Aziraphale gets scared, scared of intimacy, scared of what it would mean for his life, scared of what it would force him to confront (his faith, mostly, which is another gigantic topic), scared of the changes it would bring to their relationship, scared of breaking out of the pattern they have been moving in since the very beginning.

So he pushes, hard. He insults and denies and hurts Crowley to get as far away from all of that as possible. Push & pull, no matter when, no matter why, it's always the same.

At this point you might be thinking Alex, this is all on Aziraphale, how is this also Crowley's unstable relationship pattern? The answer to that question can be roughly summarized in one sentence:

He does not punish or discourage Aziraphale's behaviour.

There are NEVER lasting—if any—negative consequences for Aziraphale when he forces them into the push/pull dynamic, when he insults him, denies their relationship, calls him evil, you name it. No matter what Aziraphale does, Crowley always forgives and forgets and comes back to him, essentially resetting their loop. That way there cannot be any progress because they're not moving a single inch in either direction that isn't carefully organized and controlled by Aziraphale.

Why does Crowley not confront him? Because he is scared too.

Now, THIS is the part where I explain why I said Crowley has unstable relationship patterns. It is important to understand that Aziraphale's kind of instability is only one possible manifestation, and that they are—broadly speaking—on opposite ends of the spectrum, which not only makes them incredibly compatible, but also makes them worse.

Crowley is terrified of losing Aziraphale permanently and being on his own. God rejected him, heaven rejected him, hell rejected him—his life as been one traumatic incident after the other with a strong focus on abandonment and neglect, especially from people he cared about.

He says himself that Aziraphale is his only friend, he doesn't have anyone or anything else. The bookshop is Aziraphale's anchor, but Crowley has nothing except the Bentley and whatever Aziraphale allows him to partake in. Hell can take his job, his flat, punish and torture him as they please, and make his life, well, hell.

With the Bentley only appearing in the early 20th century, for 99% of his life he had nothing except for Aziraphale, his best friend, the person he loves.

So what does he do? He clings, he circles him and tries to push his orbit just a tiny bit closer whenever there's a gap he can use, trying to solidify their relationship. Terrified of being abandoned again, he swallows and ignores everything and anything negative.

The final fifteen are the FIRST TIME that Aziraphale asked him for something and he said no without changing his mind later—and it was literally the worst case scenario, the one boundary he has that he is not willing to cross for him, literally the barest minimum.

Every other time he relented, gave in, apologized for something that wasn't his fault, have Aziraphale everything he wanted from Hamlet over shooting a gun at his face to giving him the Bentley. Crowley's primary objective is to do whatever it takes to avoid being abandoned, so whenever Aziraphale DOES push back and abandons him/says that he will, he panics. He panics even more when there is an outside source threatening Aziraphale's presence in his life.

Look at how frantic he is when he finds Aziraphale after the bandstand, trying to say whatever it takes to get him to come with him. He does the apology dance, gives in when it comes to Gabriel, and never reacts to Aziraphale in a way that would prompt him to re-think the choices he is making, let alone stop doing the push/pull.

His identity revolves around Aziraphale, his only relationship is with Aziraphale, he allows him to shape him to his liking as far as he can take and then some, he needs him to be happy, to enjoy himself, to live a life worth living—and Aziraphale needs him to be and do all of those things so he can keep up his behaviour.

They are dangerously co-dependent and just spiral deeper and deeper until they hit rock bottom and are forced to separate.

Look, I have BPD on top of everything else, I have been in a relationship with this exact pattern in Crowley's role, and it is fucking horrible. Absolutely unbearable. My ex-partner was like Aziraphale, pulling and pushing and pulling and pushing but on a daily basis, every few hours. No amount of talking or begging could get them to not behave in a way that would hurt me, and I was so emotionally tied to them and terrified of being alone that just like Crowley, I relented every. single. time. A year and a half and they never, not ONCE, apologized for anything. Ever. Not for hurting me, not for being an asshole, nothing.

The only way I got out was with a lot of therapy, support, and so much emotional work I was having several panic attacks a day because I was so fucking exhausted. Crowley and Aziraphale separating was the best thing that ever happened to their relationship.

Now, Aziraphale is facing negative consequences for his behaviour and is forced to examine himself and deal with all those fears causing him to behave the way he does. Crowley on the other hand is now forced to learn how to exist without Aziraphale to orbit around—he needs to develop an identity that exists outside of Aziraphale, so he can have boundaries and stick to them.

[vidavalor]

Muriel and My Fair Lady

We've been talking a bit about The Maltese Falcon and North by Northwest and other film homages in the series and how what a bunch of them have in common is unique use of language-- verbal and visual-- to tell their story. There's another musical/film that I think S2 is referencing a bit that is all about language and that is My Fair Lady.

The romance in My Fair Lady is terrible-- I hope we all can agree on that in our modern era lol-- but that's not really the main aspect of the story that is being referenced in GO, I don't think. My Fair Lady is full of language jokes, including the titles of two of the songs-- "A Hymm to Him", which plays with homophony, and "The Ascot Gavotte", which is about the horse race setting of that part of the story-- The Ascots-- but is, additionally, a joke on the fact that an ascot is also a term for one kind of a secret language. It's also the only real gavotte in a famous musical and we know that's Aziraphale's favorite kind of dance. Much of the story of the film also leads towards a ball at an embassy-- though one that goes a bit better than S2's disaster of a party.

In S2, Crowley and Aziraphale are kind of a more likable version of Higgins and Pickering as Muriel becomes a bit of an Eliza Doolittle. I think the "cupperty" scene is something of a nod to the scene in which Higgins tries to get Eliza to pronounce "cup of tea" differently in My Fair Lady.

Additionally, later in the season, Muriel wants to try breakfast and gets rebuffed, which is kind of like how Higgins and Pickering don't think to give Eliza some of their afternoon tea. Eliza ends up looking at the tea, which is actually Muriel's preference when they first arrive in S2.

My Fair Lady is about a phonetics professor who places a bet with his friend as to whether or not he can change the speech patterns of a Cockney-accented woman enough to pass her off as a duchess at an embassy ball. It's overflowing with linguistics jokes. Eliza agrees to try to undergo this change because she has her own aspiration-- she wants to work in a flower shop.

At the start of the film, she is homeless and selling flowers on the street. She lacks the social refinement necessary to be hired as a shopkeeper-- kind of like how Muriel is on the outside looking in on the Whickber Street shops in S2. Being able to work in a flower shop would give her a new lease on life and when Muriel is in the street on the night of The Meeting Ball, look at the flower market lit up behind them when a kinder and far more likable version of Professor Higgins-- the wordplay-happy Crowley-- approaches:

Unlike Eliza, who wished to sell flowers, Muriel loves books and, at the end of S2, Muriel is the one who winds up running the bookshop... which is a far better ending than Eliza Doolittle gets in My Fair Lady, if you ask me. (She should have gotten a job and married Freddy, dammit. Bonus points to Good Omens as well for recognizing that the real ship in My Fair Lady is Higgins & Pickering.)

Poor Crowley's also kind of a version of Freddy in S2, just with the romance not being with Muriel but the Muriel-paralleling Aziraphale. Madly in love and thrown over at the end for a grumpy old man-- despite being a total dish, a total gentleman, and having the best song in the film. (Not really in the long run but, ya know, kinda lol.) There's even a version of Freddy's gorgeous song by Crowley's favorite, Nat King Cole.

Can you hear a lark in any other part of town? Does enchantment pour out of every door? No, it's just on the street where you live...

[dee-morris]

Special Interest

Aziraphale can perform miracles that, in the words of the Book, "could make the world's greatest magicians turn in their wands." But he loves doing stage magic, which he's not really that great at.

(After thinking it over I suspect what he's actually not great at is the misdirection and deception part of the program, not the actual tricks. He's not a great liar. But nvm, that's a sidetrack.)

One must wonder why he's so fond of stage magic, which is difficult and non miraculous and frankly anyone who puts himself in front of a group of sugared up children voluntarily should be canonized. It's not a job for wimps. If you ever see one of those bad-faith takes calling him soft or weak or constantly in need of rescue, just tell them, "He stand in front of eleven year olds and makes a spectacle of himself. On PURPOSE."

Anyway! Gosh I keep wandering off track bc I could talk about Magician Aziraphale for days. Muh point izzz, if we're discussing Aziraphale as an autistic coded character--and we are, bc this is my blog and I do what I want--stage magic must be a very comforting hobby for someone whose existence so frequently feels out of their own control. Yeah he could perform miracles that would make those little brats look up from their phones and possibly lose their minds, but miracles are part of The System, they're work, they're monitored and audited. They're not FUN. Stage magic is something that he can do with his own hands; he can make things happen that nobody else can predict or control. It's all him, is what I'm saying. Like his own little world that's full of magic but Gabriel can't send him any rude notes about it.

Anyway, before I go completely sappy here's The Amazing Mr Fell in a silly mustache.

[drconstellation]

Goats, Crows and The Flood

Or why Crowley turns the goats into crows in the Job minisode

If you're reading that and thinking "eh, what's the Flood got to do with it?" then read on. It wasn't done just so Crowley got to change his name. It's never as simple as that. C'mon now, this is the GOmens AU, I'm not going to write a meta about something like this and not give you at least three if not four layers as to why, now, am I? Certainly not, and this one won't be any different.

Recently I picked up a book that has been sitting for far too long on a pile near my kitchen that needs sorting through called Parallel Myths* and in it is a section on Flood myths. (It's got lots of other good bits as well, but the Flood myths are what I want to talk about here.) The Flood is a wide-spread myth, with stories all around the world from India, to the Greek myths, to the Incas and Aztecs and in North America as well.

There are four stories that include crows as messengers who are sent to look out for land. The first is our familiar bible story. Oh, did you miss that bit? Yeah, I know, you keep getting told about the dove that represents the holy spirit that came back with the olive branch. Why would they want to tell you about a dirty old crow? And why is that crow dirty anyway? Ah, hold that thought...we'll come back to that shortly.

Another very famous story that include a crow being sent out to look for land after a great Flood is in the epic story of Gilgamesh. While on a journey Gilgamesh meets an old man named Utnaptishtim who tells the hero how he survived a great flood by building a boat after being warned by the gods to do so, and then floating for several days before coming to rest on a mountain top. At first he sent out a dove, but the dove returned. Then he sent out a swallow, but the swallow returned also, so he knew there was no land yet. But the third bird he sent out was a crow, and it didn't come back, so Utnaptishtim knew it was finally safe to leave.

There are also crows mentioned in two North American Flood myths, with the Cree and the Algonquin, and in both stories they are also sent to look out for land.

So why am I telling you this? Because of this:

Which is, as we know, is a bit of a play on words, but it establishes the association between the ungulate offspring and the human offspring when we run into the next occurrence of the innocent being killed on the Almighty's fickle whim in the Job minisode in S2. And we know our favourite demon is just not going to take that lying down that without some kind of protest.

So after delivering his open monologue to the goats, which gives an insight into himself, then being confronted by Aziraphale, and revealing he has a permit, from the Almighty Herself, no less, he turns Job's goats into crows.

(And if you've missed the bit about why the goats, and not the sheep, which the archangels kept going on about, its because sheep were seen as more "Christian" as the rams were considered faithful to their ewes, as good followers should be, but goats were observed to just do it with any-nanny, with no sense of commitment, if you get what I mean, so they were considered more "demonic" in nature.)

The bible seems to have a bit of a love-hate relationship with birds. On hand they can be used for food or sacrifices, on the other hand they are metaphorical demons! There is an association made between "birds of the air" and demons, waiting to pick off the weak (of thought) and young before they can be enfolded into the "safety" of the church.

Even the noble eagle is frowned upon in a way, as it eats carrion, or rotting meat. And that is something ravens and crows are known to do as well. This eating of dead animals, and humans on the field on the ancient battlefield, led crows to be associated with death and the afterlife, and by extension, transformation from one form to another.

(I can't help thinking at this point about the Sandman's assistant crow helper that travels between worlds, but also I've written a couple of metas about both Crowley and the Bentley being facilitators for the crossing of thresholds between different worlds.)

If you've ever had a close association with a crow or two- and I have, over several years, they can be wily opponents! - you come to respect their intelligence and adaptability, no matter how they might be frustrating you! **

The raven is also mentioned in the Book of Job 38:41

Who provideth for the raven his food? when his young ones cry unto God, they wander for lack of meat.

We didn't hear this line delivered to Job during the minisode, though we certainly heard some of the other lines from verses 38 and 39 that come before and after it. God is in the middle of telling Job about the universe, the earth and the creatures upon it, and how She looks after them. The line Jimbriel speaks about the morning stars all singing together is Job 38:7, for example. Just before mentioning this loathsome bird, She mentions that most noble of animals, the lion. But look, She also cares about ugly croaking raven fledglings that seem to get kicked out of the nest as soon as they can fly. How do they fend for themselves? It is seen as the mercy of God that she provides for each of the creatures of the Earth, both the lion and the raven. (Well, there's some interesting metaphorical links riiiight there...I hope I don't need to spell them out....)

So where are we? We've gone from a crow being a messenger for Noah, to kids/goats from the Flood scene in S1E3, to demon-associated goats being transformed into demon-associated crows in the Job minisode in S2E2, just before Job's human kids are saved from destruction by being transformed into geckos - which is also a significant symbolic creature for resurrection (which I explain in another meta.)

You know, I wouldn't be at all surprised if we loop back for a longer look at the Flood in S3. Kids, crows, a transformative experience...

Va-va-voom, here we come!

*Parallel Myths by J. F. Beirlein (1994) A Fascinating look at the common threads woven through the world's greatest myths - and the central role they have played through time. ISBN 0-345-38146-7

**I know there are corvids all around the world, and they can be shy, important birds in the ecosystem but here in Australia they can also be big bullies who know they are bigger than the other birds and throw their weight around accordingly and then do gross stuff like dirty up the backyard bird bath by finding discarded sandwiches and dog bones or even Lego blocks and drop them in to "soften" them for later consumption and just leave a filthy mess there for everybird else. yyyiikkk.

[createserenity]

Is there any love in heaven?

I’ve been thinking about writing about this for a while, because it’s a major point in the characters of both Aziraphale and Crowley – although this is mostly about Crowley because it relates to something else I'm writing. It’s also all my opinion, I totally understand why other people have a different opinion and a different reading of things that happen in GO, so please don’t be offended by any of this. I'm prepared for the fact that I might be totally wrong, and that's okay too.

Anyway, is it possible that Crowley feels horribly about his fall because he has been torn from the grace and love of heaven and the Almighty? Well, anything’s possible. But also…

What love?

Look at these angels.

Are you seriously suggesting to me that they in any way feel loved? They haven’t got the first clue about love. They don’t feel it. They don’t experience it. They don’t know what it is. The Almighty does not love them.

Angels in GO were created to be servants of the Almighty. They are there to do her will and make sure the Great Plan is carried out. They aren’t her children. She isn’t coddling them like a parent or even loving them as equals or friends. She treats them as servants, or at best as members of her political party.

How do we know they don’t understand love?

We know from season two that the angels have no idea how human romantic love works. Aziraphale has to explain the concept as “what humans do” and Michael et al clearly have no context for this piece of information. They don’t even understand that “miracles don’t work like that” (even Crowley doesn’t appear to know this interestingly). Later on Crowley is able to trick Muriel, and then by extension Michael and Uriel, into believing human love works in a certain way (“you can only tell if people are in love by waiting a few days because humans are weird and that’s how it works”). So it’s fairly obvious that there is no concept of romantic love in heaven.

So this is all very well, but of course, the Almighty wouldn’t have romantic love for the angels, so it could be plausible they wouldn’t understand that but would still understand other types of love. Except…

The archangels, and even Muriel, see nothing wrong with depriving Job and Sitis of their children. They literally don’t understand the bonds of any sort of love that might exist between two beings.

Aziraphale understands because he has been on earth and has seen first-hand the way in which humans form bonds of love. He knows of the love between two humans and between a parent and child. When he tries to explain this to the archangels all he can come up with is “I think they quite like the old ones”. If there was some parallel to be drawn between any sort of love the Almighty might bestow on the angels then he would absolutely have used that to help explain what Job was going to feel at the loss of his children, but he doesn’t, because the parallel doesn’t exist – the angels know nothing of love.

But Aziraphale recognises love when he feels it in Tadfield?

Sure. He’s been on earth a long time. He knows what love is and as a being of goodness it seems he can sense very strong good emotions. He loves things himself in many different ways (books, food, Crowley, humans) and recognises that what he feels for them is love in different forms. He’s learnt what love is through being on earth.

Also just because the Almighty isn’t bestowing her love on her angels doesn’t mean that she made them without the capacity for love. (Even Gabriel clearly has the capacity to love.) It’s possible she wanted them to worship her, or at least be obedient to her, and that in the early days this obedience was not intended to be the obedience of fear, but the obedience of gratitude and perhaps respect or obligation.

In fact the word that would best describe this would be devotion. The angels were supposed to be devoted to the Almighty and to her Great Plan. They were supposed to be devoted to their purpose, unquestioning and obedient. Devotion is not the same as love, especially when it only goes one way, and of course when a relationship only goes one way the relationship either fades away entirely or becomes twisted over time.

Could this be a new thing?

Is it possible that when they were first created the Almighty did love her angelic creations? Well possibly. I’m sure she was pleased with them. I’m sure at first they were delightful to her. None of this is the same as suffusing them with her love.

When Aziraphale and angel-who becomes-Crowley meet in S2E1 we see them both as they were before the fall happened. Do either of them seem like they are basking in the love of an Almighty being? Not to me they don’t. Aziraphale is his usual lovely self, but he’s already nervous and knows that you can get into trouble, even in this pre-earth era. Crowley appears to have been completely absorbed by his star building project and barely paying attention to the Almighty or what she’s doing. Again, they are servants who have been given orders, or members of a political party who are out working in their constituencies, following the general party line, but mostly just getting on with their jobs. Aziraphale also knows they risk getting fired or punished if they invoke displeasure in their superiors – he’s not a being who is confident in the protection and safety of some divine love.

Also if the angels had once had the love of the Almighty and then lost it you’d think they might mention it at some point? Certainly Aziraphale might mention or hint or act in some way like that had happened. But he doesn’t, because it very likely hasn’t. Also when he thinks he’s fallen after lying to Gabriel about Job’s children if he had some sense of love from the Almighty he would know in this moment that he had not lost that love and that he was not fallen. And note here that he says, “I’m a fallen angel!” because he thinks he’s already fallen. He’s not expecting the fall to happen when Crowley arrives, nor when he actually steps into hell itself, he thinks it’s already a done deal and that it happened the moment he lied. There’s no way he wouldn’t know that falling involved losing the love and grace of the Almighty if it did in fact involve that – it would be a point widely advertised and feared in heaven, it would be something used to keep the angels in line. But it isn’t, because it doesn’t happen. There’s no love to lose.

What does this mean for Crowley’s fall?

Well for a start it means he isn’t carrying around some hang up over having been divinely loved and then having this ripped away from him. At most he is feeling rejected by his employer or his political party leader, which I’m not saying isn’t something that would cause him to be hurt or upset, but it’s certainly less significant than losing something that equates to the human concept of motherly or divine love.

Also to me for all that Crowley says, “I didn’t mean to fall” and “all I did was ask questions,” he clearly chose to do so – he chose to keep asking, even knowing the consequences. He picked a side in the war and must have at least in part known what picking that side meant. He knew he wasn’t siding with the Almighty and he did so of his own free will. Choice is a major theme in Good Omens – Crowley made a choice between two sides and picked the one that he saw as the better option at the time (not the perfect option, he doesn’t much like hell either, but I think he liked that they weren’t pretending to be something they’re not). He repeatedly makes it clear throughout the series that he does not regret this choice. He doesn’t want to go back. He thinks heavens rules and actions are ridiculous. Yes he’d love to get the chance to ask the Almighty a few questions, but only because he wants to know what the fuck they were thinking with this whole ridiculous plan.

When he “prays” to the Almighty it’s not really praying, it’s not a sign of faith, he’s just lamenting at a person he knows exists that he thinks is doing stupid things. He’s basically putting in a complaint to head office, though he knows the CEO isn’t actually going to be replying. He never asks her for anything, he simply asks questions, gives his opinion and makes suggestions. “Show me a Great Plan” – there’s nothing great about this plan, what are you playing at? Show me a better one. “You said you were going to be testing them, but you shouldn’t test them to destruction” – I remember you said you were going to do this, but it completely sucks, it’s rubbish, you’re doing the wrong thing yet again in my opinion.

What Crowley regrets and hates is that any of them were forced to choose sides in the first place. We see this most clearly after he thinks he’s lost Aziraphale in the bookshop fire. He knows where Aziraphale has gone – to heaven – the one place he can’t follow, and it’s then that he laments, “I didn’t mean to fall.” Except he did mean to (he’s an unreliable narrator about the whole thing). What this is is the point at which he regrets falling because he realises that the choice he made so long ago has now separated him forever from the one being he actually cares about. Crowley’s default reaction when something goes wrong is to say he didn’t mean it to happen. It’s ironic that a demon who thinks everyone should get a choice denies his own informed choices at every turn, but then Crowley also believes in second chances for everyone. (Look how many chances he gives Aziraphale, then there’s Elspeth and even Job’s children, who, Jemimah excepted, are self-centred brats – they all deserve a second chance at life according to Crowley). He didn’t get one himself and I think that’s what he’s really upset about. I picked my side but there shouldn’t be sides at all and I shouldn’t have fallen because I should have been given another chance.

Any other points?

Yes, a completely contradictory one that goes back to the idea of the withdrawal of love being a new thing where all angels once were loved and this has been withdrawn from them all. I’ve given this some extra consideration partly because whilst there definitely doesn’t seem to be a concept of the fall being traumatic in the original book it’s not totally beyond the realms of possibility that Neil might be retrofitting the story and might play that angle a little in the last series and I wanted to think about how that might go. Since there doesn’t seem to be any love in heaven now I can’t imagine any scenario where this isn’t an all or nothing loss of love.

I’m just going restate right here that for the reasons I mentioned earlier I’m dubious about it ever becoming a thing – pre-fall Aziraphale and Crowley do not seem to be basking in heavenly love, but for the sake of this argument let’s imagine for a second that they are. Let’s imagine the Almighty created the angels and surrounded them with her divine love and grace.

Maybe after the war in heaven the Almighty is so hurt by the rebellion of some of her angels (because nothing can hurt you like the slight of someone you love deeply) that she withdraws her love entirely from all of them. Maybe that’s why the archangels are so bitter and twisted – they were the most loved, they have lost the most. Perhaps all angels are all living under this shadow of having been loved once upon a time but having had that love withdrawn. Maybe that’s why the angels stick so rigidly to the party line – perhaps in a way they are all traumatised. If we can just be good enough, if we can be perfect enough, if we can get the plan exactly right, maybe we will earn back the love of the Almighty.

If that’s the scenario then that’s the greatest tragedy of them all.

[humbledragon669]

Lockdown Episode Write Up P1 – tableaus

Introduction

So, first things first, just in case you haven’t seen it, or want to see it again, you can watch this little bonus episode here. It takes place between seasons one and two and consists of a series of static “tableaus” with a voiceover of a telephone conversation between Crowley and Aziraphale. In truth, I think its purpose was largely to serve as a public service announcement for people to contribute to the “Stay At Home” campaign that the UK government had enacted as part of its Covid-19 prevention/reduction efforts, though I’m sure it was also a bit of fun to make for the anniversary of the book, and probably gave Michael, David, and some editing crew something to do for about an hour or so. The script never mentions Covid-19 directly, but I think we can assume (given the timeline between the seasons) that the time setting is 2020, May 2020 to be exact.

Despite the fact that it’s less than 4 minutes long (including opening and closing credits), there’s actually quite a lot to say about this sweet little thing (I’m going to call it a minisode from this point on – yes, I know that word has particular connotations for season 2, but we’re not there yet, so minisode it is). I don’t think there’s much linking the dialogue with the images (apart from the cake sequence), so I’ve broken this write-up down into tableaus and dialogue, because there are just as many Easter eggs (maybe more) to be had from the tableaus as there are from the script. Some of the later tableaus are reiterations of earlier images, so I’ve bundled them together where I can for brevity. I have also only commented on the items in the tableaus that can be clearly seen and aren’t out of focus.

This part of the write-up will address just the tableaus, with the dialogue addressed in a separate write-up. As a final bit of uniquity, I’ve placed tableau #12 at the end of the write-up as it’s a wider shot of a lot of the objects we see in other images, so anything left not yet addressed can be done there. Right, housekeeping done, let’s get stuck in shall we?

Tableaus

Tableaus #1and #18

Contents:

A plate of sushi, complete with chopsticks

Multiple piles of books (unfortunately I can’t discern what any of them are).

A drawing of Aziraphale.

What looks like the edge of a map – this will be covered in a later selection of tableaus.

Nothing too cryptic in this compilation of objects – it’s fairly obvious from them and the effects on Crowley’s voice that we (the audience) are in Aziraphale’s bookshop. The sushi and the books are pretty obvious connections to the angel, but I don’t think we’ve known him to be an artist (and a pretty good one at that) before now. The one thing I will say about the use of a plate of sushi in this first tableau is that it makes for a nice parallel to the opening of season 1 – the first time we see Aziraphale in the present day, it’s in a sushi restaurant.

Tableaus #2 and #17

Contents:

A G.K. Chesterton book.

A drawing of Crowley.

A plate of Welsh cakes (links into the cake sequence).

An old map of Oxfordshire – this will be covered in a later selection of tableaus.

A magnifying glass, presumably for looking at the map with.

Alright, now we’re getting into some neat little Easter egg territory. I’m fairly sure there is a reference in the book somewhere to Chesterton being one of Crowley’s favourite authors, but I’m not sure where. It is singled out in the dedication in the front of the book though, so it must be in there somewhere. And then there’s the drawing. It’s very difficult to tell, but in tableau #2 it looks like it might be the other half of the drawing we saw of Aziraphale. Which would mean that drawing is of the two of them together. Drawn by Aziraphale. In a very romanticised way. As much as I really want to believe that, we can see in tableau #17 that this isn’t the case. It’s a nice mental suggestion though.

Tableau #3

Contents:

More books.

A steaming mug (presumably of cocoa).

The objects here are pretty innocuous. The mug is the same one that we see Aziraphale using in season 1 when he sits down to look at Agnes Nutter’s book (and we see it used again in season 2, but we’re not there yet).

Tableaus #4 and #11

Contents:

A bottle of Courvoisier (cognac).

More books.

A glass, presumably containing Courvoisier.

I can’t quite work out what the text on the spine of the uppermost book is – all I can make out is ???WEN ?????YSON – so if anybody has worked this one out I’m all ears (I did Google for all of about two minutes). As far as the Courvoisier is concerned, I have assumed that’s what Aziraphale and Crowley are drinking at the end of episode one, although it comes from a decanter and there’s no bottle in sight (and in fact the Script Book stipulates that they’re drinking whiskey at this point), so an assumption is all it is. I can’t think of any other times that our hero pair drink hard spirits together in season one, but I’m happy to be corrected.

Tableau #5

Contents:

A stack of books, including:

Homer’s Iliad, Vol. II.

Something by G.K. Chesterton published by The Bodley Head, possibly Orthodoxy.

Forbidden Rites: A Necromancer’s Manual of the Fifteenth Century, by Richard Kieckhefer.

Collected Verse, by Hilaire Belloc.

The Club of Queer Trades, by G.K. Chesterton.

A framed picture. The image in the frame is part of this work, described as a woodcutting of witches and devils dancing in a circle from 1720.

Alright, let’s take a look at those books. First up, Homer’s Iliad, specifically Vol. II in this instance. Honestly, I tried to do a bit of research about what this book might contain, but I got bored within reading the first paragraph of the summary, and I have never read the classic poem in its entirety. Don’t get me wrong, I love to read (I mentally inhale books if given the chance), but I have always struggled with classical literature. If anyone can sum up what this volume is about in three sentences (instead of the three long paragraphs I found), I’d very grateful. For now, let’s just say it’s about the Trojan war, specifically the setting of the scene for that coming war. Maybe that’s a subtle reference to the events to come in season 2, but it feels like a stretch.

 There are two Chesterton books in the pile. Given that Chesterton is supposedly Crowley’s favoured author, I find it interesting that Aziraphale has so many of the author’s works lingering around within reach. Has he pulled these out of his collection to gift/lend to Crowley? Or is he reading them purely because he knows that Crowley likes the author? Has he placed them there to make the demon feel at home when he’s at the bookshop? Whatever the reason, there’s perhaps something to be said about the choice of these particular books. The first, Othodoxy, is a companion book to Chesterton’s earlier work, Heretics, which was a collection of essays refuting non-religious beliefs and defending Christianity. Chesterton described Orthodoxy as an account of his personal journey to embracing Christianity and its values, including the concept that biblical paradoxes are actually essential for satisfying the human need for conflict. Bit of a mouthful all of that, isn’t it? Pretty sure it ties it rather nicely to the ideas put forward in both seasons that Heaven and Hell must both exist in order for free will to be effective. I think. I don’t think I’m wording that very well, but you probably get the message. On the other hand, The Club of Queer Trades is a much lighter book of short stories, each one detailing a case taken on by a private detective agency that involves someone who has an unusual occupation. These occupations include a raconteur (someone who tells anecdotes in an amusing way), a vicar, a professor who insists on dancing, and a Lady who refuses to be rescued. Seems like there are quite a few similarities between those descriptions and a certain angel to me…

I find the next book, Forbidden Rites: A Necromancer’s Manual of the Fifteenth Century, to be an interesting one for Aziraphale to have on hand. This is said to be a collection of medieval magic, along with a commentary. It perhaps fits in with Aziraphale’s penchant for books of prophecy, but its contents seem a bit too practical for that.

The final book that I was able to identify in this pile is written by a gentleman I admit I had never heard of before – Hilaire Beloc. I found it difficult to identify what the contents of Collected Verse might be, but the author himself is referred to as one of the Big Four of Edwardian Letters, alongside H.G. Wells, George Bernard Shaw, and… G.K. Chesterton. So perhaps that’s the reason for this book’s inclusion.

Moving on to that picture. Being of Pagan background, that image is one that I have seen many times in my life. The full image shows a circle of four women and four demon-like creatures dancing together, apparently created in 1720. It was doubtless used as propaganda to justify and document the witch hunts that took place during this time in history. This feels like an especially odd object for Aziraphale to have, particularly as it’s framed. He of all people would know that the events depicted in the image were nonsense, and none of the figures in it are recognisable as anyone in particular, so why has he singled it out for such reverence?

I’m sure there’s probably a lot more analysis that could be done on these items and how they tie in to the Good Omens storyline and sub-text, but this was only meant to be a quick write up of a minisode that’s less than 4 minutes long, so if anyone wants to take up the mantle on that one, you’re more than welcome.

 Tableau #6

Contents:

A preserved butterfly in a bell jar, held in place with what looks like a clockwork mechanism.

I don’t think I have much to say about this object except… huh? My initial thought about it is that this thing is ODD. I know people do preserve butterflies in jars, but I’ve never seen one with a cog literally threaded through the wings. I actually spoke to a friend of mine about who’s a qualified etymologist (she studies bugs) and she’d never seen one either. She did manage to tell me that the butterfly in question is called an “autumn leaf” or “leafwing”, which originates in Asia. None of which really helps me understand what this thing is doing here. What is its purpose? Why does Aziraphale have it? IT’S JUST SO WEIRD. Any ideas about this one welcome, because I can’t get my head around it.

Tableau #7

Contents:

A copy of Orthodoxy, open at a page of an essay entitled “The Ethics of Elfland”.

So firstly this would seem to confirm my supposition of the G.K. Chesterton book published by The Bodley Head. I will confess, I haven’t read the whole essay pictured, but you can do so here if you so choose. No, I skipped ahead to the end to see if I can get a feel for what the subject of this particular essay was. In doing so I found the following quotes:

Thus ends, in unavoidable inadequacy, the attempt to utter the unutterable things. …magic must have a meaning… …the proper form of thanks to it is some form of humility and restraint: we should thank God for beer and Burgundy by not drinking too much of them.

The first of those you can just about make out in the tableau, and I’m not surprised that this particular piece of prose has been selected by the editor – the is the very definition of something being “ineffable”, is it not? That which cannot be uttered? The quote about magic seems to me a very obvious link to Aziraphale’s penchant for magic, and that last quote about exercising restraint around good food and drink?

It’s the very antithesis of Aziraphale, so it’s interesting to apply this philosophy to his relationship with God (and Heaven in general).

Tableaus #8, #14, and #15

Contents:

An old map of Oxfordshire.

A magnifying class (presumably for looking at the map).

A plate of cakes (links into the cake sequence).

A newer looking (probably OS) map of Lower Tadfield, annotated with spiralling lines centred on the village.

An open book.

I can’t quite make out what the book is in tableau #15. No matter, the presence of the maps is plenty interesting enough. I think it’s likely that the older map is the one we see in the back room of the book shop:

The newer map is one that I feel like we’ve seen in the show at some point, but I can’t find it. I have a sneaking suspicion that it belonged to Anathema, and that the lines plotted on it are ley lines that have readjusted themselves in light of Adam’s emerging power. If that is the case, I’d quite like to know how and why Aziraphale has Anathema’s map. More importantly, I’d like to know if the presence of these maps in the bookshop is because the angel is still keeping an eye on the ex-Antichrist. Perhaps he’s just looking over his research for nostalgia. Maybe he just hasn’t tidied up properly for a while. Personally, I think there’s probably a reason he still has them – might be something for season 3? Guess we’ll just have to wait and see.

Quick side note: the map explicitly states Lower Tadfield, but Adam’s home is never referred to in this way in the show, only the book.

Tableau #9

Contents:

A piece of paper with Crowley’s full name written on it in cursive script.

A wax seal stamp with what looks like some sealing wax, smouldering.

Now this is a curious one! When I first saw it, I thought it was supposed to be Crowley’s signature, but it’s pretty obvious that this must be Aziraphale’s hand when we compare it with the demon’s request for holy water:

So the next thing I wondered was what Aziraphale was doing “faking” Crowley’s signature. I don’t think that’s right either though, which leaves me with two other possibilities. Firstly, that the paper we see is an envelope, which has been addressed with Crowley’s name. This would fit with the use of the sealing wax, but I can’t explain why Aziraphale would be writing a letter to Crowley, or why he would be sealing in this antiquated way. I know the angel is a little behind the times, but he knows how to pick up the telephone, so I don’t think he’d be writing letters, particularly given he would have to leave the bookshop to post it, and in case you’ve forgotten, this minisode is supposed to be encouraging us to STAY AT HOME. And let’s not forget the addition of the title “Esq.” at the end of Crowley’s name. It’s a pretty outdated term now, and would certainly look out of place if used, even if it was on a letter.

The second possibility is that this is the writing from the drawing of Crowley, providing a description of the subject. This feels more appropriate than the letter explanation, although it does mean that the wax and accompanying stamp become somewhat meaningless. This explanation might also go some way to explaining the title that Aziraphale has given to Crowley, and actually fits quite nicely with the romanticised style applied to the portrait.

Tableau #10

Contents:

An armillary sphere.

I didn’t know what this was, other than something to do with astrology/astronomy, so I had to Google. Turns out they were historically used to predict/calculate and map celestial movements. Taking this into account, this seems like a strange thing for Aziraphale to have, though it would feel right at home in Crowley’s apartment. But. I did a bit more digging, and it turns out that the image of an armillary sphere has been used in classical paintings of saints to represent the presence of Heaven.

Mind. Blown.

Tableau #13

Contents:

Satanism and Witchcraft, by Jules Michelet.

Magic: An Occult Primer, by David Conway.

As with Forbidden Rites, both of these books seem like very strange books for Aziraphale to have at hand. The first of these two books, published in 1862 (!), is widely regarded as being one of the earliest known publications sympathetic to the history of witchcraft, although nowadays it is considered to be largely inaccurate in its facts. The second is a practical guide and introduction to magic rituals. Whilst I can see how Aziraphale’s interest might extend to the former as far as research goes, perhaps into Agnes Nutter’s history, I cannot imagine why he would have need of a guide for how to conduct Pagan rituals. Answers on a postcard.

Cakes

There is a sequence of cake images that falls between tableaus 13 and 14. These tie directly into the dialogue at this point in the minisode, so I’m going to cover them in the part of this write up given over to the dialogue.

Tableau #16

Contents:

A flickering flame.

I don’t think there’s much to say about this particular tableau. I have assumed that this is a candle burning, but it is rather difficult to make out. You’d expect to see the shape of a candle underneath the flame if that was the case, and the burning wick looks distinctly unlike one you would see on a candle, but I have nothing else to draw on for this so “candle” is what I’m going with.

Tableau #12

As a reminder, I’m only looking at the things in this tableau that I haven’t covered elsewhere in this write up.

Contents:

Piles of books, which include:

Several more G.K. Chesterton titles.

A copy of Pilgrim’s Progress.

The Lore of the Land, by Jennifer Beatrice Westwood.

Unfortunately, I can’t make out the titles of the majority of the books in this image. The book on the right of the tableau, The Lore of the Land, is a charming sounding little thing about the legends found in all the different counties of England. Whilst I can’t see an immediate link to the Good Omens storyline, I quite like the idea that Aziraphale and/or Crowley are responsible for the vast majority of the entries in that book! On the other hand, Pilgrim’s Progress has a much clearer connection to the themes and ideas of the show, detailing one man’s life journey through life and his relationship with his faith. What we don’t get any indication of is whether Aziraphale would have this on hand because of his ability to relate to it, or whether it’s simply because it’s considered to be one of the most significant works of theological fiction in all history.

I already covered the creepy mechanical butterfly in a previous tableau, but there is something extra in this image that we can now make out – there’s a plaque on the bottom of the jar. I can’t make all of the writing out, but I think part of it says it’s a science award. Where from and what for I can’t read, and I can’t see what the mechanism is powering or anything in the base of the jar. Still seems like a weird thing for Aziraphale to have if you ask me!

Pre-credits message

What a perfect way to end this little treat. Not just a tip of the hat to the ending of season one, but a message of hope for everyone watching in what was a very dark time in recent history. I’ve no doubt that there was a lot of comfort had from these four minutes of film when it was released, and not just because the fans for this show are deeply invested in its development. This single line seems to convey so much of what couldn’t be said in words (or images), and I’m not about to try here, so I’m going to wrap this part up and move on to the dialogue in the next one. As always, comments, questions, discussion: always welcome 😊

[fuckyeahgoodomens]

I might not have been paying attention but what happened to the third baby during the switch?

Hiya! :) It is explained in the book (which I very much recommend! :)). If you want to read the book and find out then stop reading now ❤.

...

In the book there is more about The Them and we find out that Tadfield as another gang lead by the boy 'Greasy Johnson', the gang is called the Johnsonites. We find out that Greasy Johnson is actually the third baby :). And there are some greats passages about the metaphors for The Them vs the Johnsonites / Hell vs. Heaven :):

"I dunno," said Pepper. "I mean, it wouldn't be so interesting without ole Greasy Johnson and his gang. When you think about it. We've had a lot of fun with ole Greasy Johnson and the Johnsonites. We'd probably have to find some other gang or something."

"Seems to me," said Wensleydale, "that if you asked people in Lower Tadfield, they'd say they'd be better off without the Johnsonites or the Them."

Even Adam looked shocked at this. Wensleydale went on stoically: "The old folks' club would. An' Picky. An'—"

"But we're the good ones . . ." Brian began. He hesitated. "Well, all right," he said, "but I bet they'd think it'd be a jolly sight less interestin' if we all weren't here."

"Yes," said Wensleydale. "That's what I mean."

"People round here don't want us or the Johnsonites," he went on morosely, "the way they're always goin' on about us just riding our bikes or skateboarding on their pavements and making too much noise and stuff. It's like the man said in the history books. A plaque on both your houses."

This met with silence.

"One of those blue ones," said Brian, eventually, "saying 'Adam Young Lived Here,' or somethin'?"

Normally an opening like this could lead to five minutes' rambling discussion when the Them were in the mood, but Adam felt that this was not the time.

"What you're all sayin'," he summed up, in his best chairman tones, "is that it wouldn't be any good at all if the Greasy Johnsonites beat the Them or the other way round?"

"That's right," said Pepper. "Because," she added, "if we beat them, we'd have to be our own deadly enemies. It'd be me an' Adam against Brian an' Wensley," She sat back. "Everyone needs a Greasy Johnson," she said.

"Yeah," said Adam. "That's what I thought. It's no good anyone winning. That's what I thought." He stared at Dog, or through Dog.

"Seems simple enough to me," said Wensleydale, sitting back. "I don't see why it's taken thousands of years to sort out."

And then on the airfield :):

"I just don't see why everyone and everything has to be burned up and everything," Adam said. "Millions of fish an' whales an' trees an', an' sheep and stuff. An' not even for anything important. Jus' to see who's got the best gang. It's like us an' the Johnsonites. But even if you win, you can't really beat the other side, because you don't really want to. I mean, not for good. You'll just start all over again. You'll just keep on sending people like these two," he pointed to Crowley and Aziraphale, "to mess people around. It's hard enough bein' people as it is, without other people coming and messin' you around."

Crowley turned to Aziraphale.

"Johnsonites?" he whispered.

The angel shrugged. "Early breakaway sect, I think," he said. "Sort of Gnostics. Like the Ophites." His forehead wrinkled. "Or were they the Sethites? No, I'm thinking of the Collyridians. Oh dear. I'm sorry, there were hundreds of them, it's so hard to keep track."

[catre33]

love languages

Crowley and Aziraphale each have their own specific language for each other. Their own specific love languages, specifically for each other.

They both have a general love language, of course.

Aziraphale's is hard to discern. Gestures are a great part of it, I believe. Angelic nature = acts of service. But he is really just reclused. An ambivert, I believe you could say. He will socialise if he really truly needs to, and he keeps up the appearance of being perfectly amiable. But, he really just has Crowley and his books. I think that's one of the reasons books are such a large part of his personality. Throughout centuries people and civilizations rise and fall. Perhaps he got too attached in early years to mortals he didn't realise would pass on too soon. But books will never betray or leave you in unpredictable ways. Their stories are always there. The only one who has also been there the entire time has been Crowley. These two are the only immortals for each other. And that's also why quality time is quite a large part of Azi's general love language. Spending as much time with someone as possible because you never know when you'll lose them, especially if they're mortal.

The ambivert/recluse perspective really relates to both of them at this point. I can see Crowley having much more of a social life than Aziraphale, but only really on the surface. Practically platonic flings. As per the usual, he has realised the truth early on, that he can't get too attached to anyone. So he'll make friends, he'll spend time with random people; get wasted at clubs, become quick besties with Freddie Mercury, Hozier, Shakespeare, anyone who'll let him rant drunk. But he would never really delve deep into any sort of relationship. Only his angel.

They're the only people, or people-shaped beings, the other could rely on this entire time, through fights and Ragna-right-okay-neverminds, through everything. (until recently ;-;)

Their personal languages for each other are also much more than loosely based upon their ideas of love, and the sheer humanity of it.

Crowley's idea of love is desperate, intense, and intimate (not just physically). A burst of feeling in a tumultous atmosphere, followed by pure expression of adoration for each other. A slow burn and enormous supernova of love. A galaxy of devotion to each other. Which also directly relates to the (supposed) moment he fell in love. Love at first fricking sight. Looking into each others' eyes and realising you were made for each other. An explosion of feeling. He shows his love for Aziraphale in these ways. Desperate rescues and speeches. Very cinematographic ideals, he has.

Aziraphale- oh ho. This true good old-fasioned lover boy. Jane Austen, Cotillion Balls, a slow dance with your love. Gentle, caring, heart-wrenching. A sudden realisation. Very, very sudden, everything. His idea of love is of discovery. But it is also very vague. I feel he is terrified to pursue anything. The terror on his face of implications, realisations that he is knee-deep in the roller coaster of love. He probably never considered any of this until the 18th or 19th century, with his new favorite novels. It is all so very new and scary and sudden to him.