#and crowley as someone who can do no wrong

[queer-reader-07]

you know what i think is interesting? the way that some people have just flat out decided that aziraphale being in hell during the body swap wasn't even a little bit traumatic.

we obviously know it fucked with crowley (see: the telling jim to jump out a window scene)

but what about aziraphale? sure we have no concrete proof it messed with him, but we also don't have proof to the contrary

"oh but he was just laughing about asking for a rubber duck". when has aziraphale ever actually been upfront about his feelings? he consistently outwardly acts like things are fine even when they very much aren't. i don't know about you but me personally? i wouldn't put it past him to be jokey about it when really it messed him up inside.

sure the holy water isn't painful to HIM. but he's down there knowing full well that it was supposed to be crowley in that bath. it was supposed to be the love of his life melting and dying in that bath. and it was to be put on display for all of hell to watch. in the same way that crowley was up in heaven knowing that gabriel told aziraphale to shut his stupid mouth and die already. the same way crowley knew they were reveling in ending aziraphale's life.

like, idk. i just think that maybe aziraphale also has a lot of trauma to work through and him working through it and his shitty coping mechanisms is part of the growth he needs to undergo in season 3.

[fandom-madness69]

My favorite thing about the fact that Michael Sheen will soon be able to talk about every little dirty detail behind the scenes of season two is that we all wanna know about that kiss. And you know damn good and well he knows we wanna know what it was like to kiss David Tennant. We all have seen this man interacting with the fandom and being a part of it. We've repeatedly witnessed this man go Full Feral™️. We've all seen that Michael Sheen and David Tennant have literally no problem with kissing other men for their jobs. And not even fake ass actor kissing. Not even a kiss next to the mouth shot at an angle that will trick you into thinking they're really kissing.

NOPE

Both of these men have kissed (at least lips to lips idk about any tongue stuff but knowing them??? Probably) men full on, outright, no pretending. So like Michael knows we know this. He knows he's not gonna get away with any kind of half assed answers about kissing the mf David Tennant. But knowing him? And the secrets he keeps with His Angel? He will most likely give us some vague, half flirtatious response and we will all eat it up anyway.

[bullagit]

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

[tenok]

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[captainfantasticalright]

In 1985, one of the only persons interested in an interview with a “new” writer called Terry Pratchett, after his publication of the Colour of Magic, was one Neil Gaiman. Neil Gaiman was writing for Space Voyager at the time. "The Colour of Pratchett" was the name given here:

It ran exactly one page inside the June/July issue of that year. The interview took place in a Chinese restaurant in London.

Here is Neil many years later holding that issue. You can see it here if you want. Warning: extremely emotional video.

Neil arrived wearing a grey homburg hat. “Sort of like the ones Humphrey Bogart wears in movies” he later wrote. (Before saying that in fact he did not look like him, but like someone wearing a grown-up’s hat). Terry Pratchett, photo courtesy of one @neil-gaiman, was in a Lenin-style leather cap and a harlequin-patterned pullover. At this point, Terry was already a hat person, although not that hat.

Terry offered Neil this : "An interview needn't last more than 15 minutes. A good quote for the beginning, a good quote for the end, and the rest you make up back at the office"*. (Terry Pratchett had worked many years in journalism by this point ).

But the meeting went terribly well. The two of them realized they had "the same sort of brains". So well indeed, that in 1985, Neil had shown Terry a file containing 5282 words, exploring a scenario in which Richmal Crompton's William Brown had somehow become the Antichrist. Was a collaboration in the cards as of that moment? Not really. But Terry found in Neil someone to whom he could send disks of work in progress and to whom he could pick up the phone sometimes when he hit a brick in the road of his writing.

Terry loved it and the concept stayed in his mind. A couple of years later, he rang Neil to ask him if he had done any more work on it. Neil had been busy with The Sandman, he had not really given it another thought. Terry said, "Well I know what happens next, so either you sell me the idea or we can write it together". **

And as you know, unless you’ve been living in Alpha Centauri, the rest is history. That was the beginning of what would become William the Antichrist and later would get the name Good Omens:The Nice and Accurate Prophecies of Agnes Nutter, Witch. (Title provided by Neil Gaiman and subtitle by Terry Pratchett).

From the introduction to William the Antichrist: “In the summer of 1987 several odd ideas came together: (..)I found myself imagining a book called William the Antichrist, in which a hapless demon was going to be responsible for swapping the wrong baby over, and the son of the US Ambassador would be completely undemonic, while William Brown would grow up to be the Antichrist, and the demon would need to stop him ending the world. The unfortunate demon, whom I called Crawleigh, because Crawley was a nearby town with an unfortunate name, would have to sort it all out as best he could.

It felt like a story with legs.

Terry took the 5,000 words, and rewrote them, calling me to tell me what he was doing and what he was planning to do. The biggest thing he was going to do, he told me, was split the hapless demon into two characters – a would-be-cool demon in dark glasses (which was, I think, Terry’s way of making fun of me, a never-actually- cool journalist in dark glasses) who had renamed himself Crowley, and a rare-book dealer and angel called Aziraphale, who would embody all the English awkwardness that either of us could conceive.”

William the Antichrist being a direct inspiration of the 1976 film The Omen. If the baby swap had just been a little bit messier and the kid had gone off somewhere else he would have grown up as somebody else. “And then there was a beat and I thought, I should write it, it will be called William the Antichrist” says Neil. ***

“The first draft of Good Omens was a William-book. It was absolutely in every way it could be a William book. It had Violet Elizabeth Bott, it had William and the Outlaws, it had Mr. Brown”.

Over time they realized that they would have more creative freedom if they in their own words filed off the serial numbers. William and the Outlaws becoming Adam and the Them.

But the spirit of Just William was never far away.

The joy for Neil was to construct “perfectly William sentences”. The one when Anathema tells Adam that she has lost the Book, and he tells her that he has written a book about a pirate who became a famous detective and it is 8 pages long… that’s “a William sentence”.

Good Omens was also inspired by a particularly antisemitic moment in The Jew of Malta and John le Carre's spy novels. (Neil’s ask)

“When we finished the book we estimated that the words were 60% Terry’s and 40% mine, and the plot, such as it was, was entirely ours.”

(Here are some slides of mine where I go into some other details concerning the origins of Good Omens).

*Quote: from Terry Pratchett A Life With Footnotes by Rob Wilkins, but said by Terry of course.

** All the quotes, facts listed here : see above.

***all other quotes by Neil Gaiman from various interviews and asks I’ll link.

[inhonoredglory]

Aziraphale’s Choice, the Job Connection, and Michael Sheen’s Morality

Update: Michael Sheen liked this post on Twitter, so I'm fairly certain there is a lot of validity to it.

I’ve had time to process Aziraphale’s choice at the end of Season 2. And I think only blaming the religious trauma misses something important in Aziraphale’s character. I think what happened was also Aziraphale’s own conscious choice––as a growth from his trauma, in fact. Hear me out.

Since November 2022 I’ve been haunted by something Michael Sheen said at the MCM London Comic Con. At the Q&A, someone asked him about which fantasy creature he enjoyed playing most and Michael (bless him, truly) veered on a tangent about angels and goodness and how, specifically,

We as a society tend to sort of undervalue goodness. It’s sort of seen as sort of somehow weak and a bit nimby and “oh it’s nice.” And I think to be good takes enormous reserves of courage and stamina. I mean, you have to look the dark in the face to be truly good and to be truly of the light…. The idea that goodness is somehow lesser and less interesting and not as kind of muscular and as passionate and as fierce as evil somehow and darkness, I think is nonsense. The idea of being able to portray an angel, a being of love. I love seeing the things people have put online about angels being ferocious creatures, and I love that. I think that’s a really good representation of what goodness can be, what it should be, I suppose.

I was looking forward to BAMF!Aziraphale all season long, and I think that’s what we got in the end. Remember Neil said that the Job minisode was important for Aziraphale’s story. Remember how Aziraphale sat on that rock and reconciled to himself that he MUST go to Hell, because he lied and thwarted the will of God. He believed that––truly, honestly, with the faith of a child, but the bravery of a soldier.

Aziraphale, a being of love with more goodness than all of Heaven combined, believed he needed to walk through the Gates of Hell because it was the Right Thing to do. (Like Job, he didn’t understand his sin but believed he needed to sacrifice his happiness to do the Right Thing.)

That’s why we saw Aziraphale as a soldier this season: the bookshop battle, the halo. But yes, the ending as well.

Because Aziraphale never wanted to go to Heaven, and he never wanted to go there without Crowley.

But it was Crowley who taught him that he could, even SHOULD, act when his moral heart told him something was wrong. While Crowley was willing to run away and let the world burn, it was Aziraphale (in that bandstand at the end of the world) who stood his ground and said No. We can make a difference. We can save everyone.

And Aziraphale knew he could not give up the ace up his sleeve (his position as an angel) to talk to God and make them see the truth in his heart.

I was messed up by Ineffable Bureaucracy (Boxfly) getting their happy ending when our Ineffable Husbands didn’t, but I see now that them running away served to prove something to Aziraphale. (And I am fully convinced that Gabriel and Beelzebub saw the example of the Ineffables at the Not-pocalypse and took inspiration from them for choosing to ditch their respective sides)

But my point is that Aziraphale saw them, and in some ways, they looked like him and Crowley. And he saw how Gabriel, the biggest bully in Heaven, was also like him in a way (a being capable of love) and also just a child when he wasn’t influenced by the poison of Heaven. Muriel, too, wasn’t a bad person. The Metatron also seemed to have grown more flexible with his morality (from Aziraphale's perspective). Like Earth, Heaven was shades of (light?) gray.

Aziraphale is too good an angel not to believe in hope. Or forgiveness (something he’s very good at it).

Aziraphale has been scarred by Heaven all his life. But with the cracks in Heaven’s armor (cracks he and Crowley helped create), Aziraphale is seeing something else. A chance to change them. They did terrible things to him, but he is better than them, and because of Crowley, he feels ready to face them.

(Will it work? Can Heaven change, institutionally? Probably not, but I can't blame Aziraphale for trying.)

At the cafe, the Metatron said something big was coming in the Great Plan. Aziraphale knows how trapped he had felt when he didn’t have God’s ear the first time something huge happened in the Big Plan. He can’t take a chance again to risk the world by not having a foot in the door of Heaven. That’s why we saw individual human deaths (or the threat of death) so much more this season: Elspeth, Wee Morag, Job’s children, the 1940s magician. Aziraphale almost killed a child when he couldn’t get through to God, and he’s not going through that again.

“We could make a difference.” We could save everyone.

Remember what Michael Sheen said about courage and doing good––and having to “look the dark in the face to be truly good.” That’s what happened when Aziraphale was willing to go to Hell for his actions. That’s what happened when he decided he had to go to Heaven, where he had been abused and belittled and made to feel small. He decided to willingly go into the Lion’s Den, to face his abusers and his anxiety, to make them better so that they would not try to destroy the world again.

Him, just one angel. He needed Crowley to be there with him, to help him be brave, to ask the questions that Heaven needed to hear, to tell them God was wrong. Crowley is the inspiration that drives Aziraphale’s change, Crowley is the engine that fuels Aziraphale’s courage.

But then Crowley tells him that going to Heaven is stupid. That they don’t need Heaven. And he’s right. Aziraphale knows he’s right.

Aziraphale doesn’t need Heaven; Heaven needs him. They just don’t know how much they need him, or how much humanity needs him there, too. (If everyone who ran for office was corrupt, how can the system change?)

Terry Pratchett (in the Discworld book, Small Gods) is scathing of God, organized religion, and the corrupt people religion empowers, but he is sympathetic to the individual who has real, pure faith and a good heart. In fact, the everyman protagonist of Small Gods is a better person than the god he serves, and in the end, he ends up changing the church to be better, more open-minded, and more humanist than god could ever do alone.

Aziraphale is willing to go to the darkest places to do the Right Thing, and Heaven is no exception. When Crowley says that Heaven is toxic, that’s exactly why Aziraphale knows he needs to go there. “You’re exactly is different from my exactly.”

____

In the aftermath of Trump's election in the US, Brexit happened in 2018. Michael Sheen felt compelled to figure out what was going on in his country after this shock. But he was living in Los Angeles with Sarah Silverman at the time, and she also wanted to become more politically active in the US.

Sheen: “I felt a responsibility to do something, but it [meant] coming back [to Britain] – which was difficult for us, because we were very important to each other. But we both acknowledge that each of us had to do what we needed to do.” In the end, they split up and Michael moved back to the UK.

Sometimes doing the Right Thing means sacrificing your own happiness. Sometimes it means going to Hell. Sometimes it means going to Heaven. Sometimes it means losing a relationship.

And that’s why what happened in the end was so difficult for Aziraphale. Because he loves Crowley desperately. He wants to be together. He wanted that kiss for thousands of years. He knows that taking command of Heaven means they would never again have to bow to the demands of a God they couldn’t understand, or run from a Hell who still came after them. They could change the rules of the game.

And he’s still going to do that. But it hurts him that he has to do that alone.

[sing-you-fools]

thinking about Good Omens 2. and stories, and the shape of them, and Terry Pratchett and his themes. and something clicked.

Aziraphale is cackling.

it's not just the ball. he spends the entire season trying to force the story into a shape it's not, and everyone suffers for it.

i've seen some less than charitable takes on Crowley's actions and they all ignore how much Crowley did try to talk to Aziraphale, did try to ask Aziraphale questions, did try to help, only to be ignored or brushed off. because his questions, his offers, they didn’t fit with the story Aziraphale was telling himself.

quiet, gentle, and romantic. it was, if you're our favorite Angel - right up until the end, at least. because he decided that's the story he was in. from the very beginning, he's off in la-la land, living out this romcom with a cute little mystery wrapped up in it, completely ignoring what's actually going on around him. i'll set Nina and Maggie up! (completely ignoring that Nina tells him she has a partner, and at that point, he has no reason to think she's anything less than happy.) i'll take ~our~ car to go do investigate this silly little mystery (he's not taking it even a little bit seriously!) while you stay here and run the bookshop and it will be so quaint and domestic! soon we'll dance and confess our feelings that we obviously share because we're already so clearly a couple we just need to finally say it!

Crowley knows the entire time that they're in a horror story but Aziraphale ignores every attempt he makes to point that out because it doesn't fit the story he decided he's in the middle of.

he brushes off Crowley's concerns and questions - his QUESTIONS! - like they're nothing. he doesn't want to see it, so he doesn't. and Crowley should have told him more?

why would he?

when you are CLEARLY in distress and it's being BLATANTLY AND WILLFULLY IGNORED, what the fuck are you supposed to do? "Crowley didn't comminicate" well okay if I were having a panic attack about something and my husband completely ignored it, chattering on about our dinner plans or whatever, that wouldn’t exactly make me want to open up about what was wrong! that would send the very fucking clear signal that he didn't want to know!

words aren't the only way we communicate and Crowley's body language, the entire season, is that of someone who is living in a horror story, knows he's living in a horror story, and is fucking terrified. if Aziraphale were paying any attention to Crowley instead of focusing all his energy trying to set things up just so for the big climax of his love story, he would know something major was wrong.

why would Crowley have told him how cruel Gabriel was about the execution when Aziraphale's already so thoroughly convinced that heaven is pure and good and has shown over and over through the millennia that he's not really open to considering that it can be cruel!

just look at them at the dance. Crowley freaking out because there's a horde of demons out there and Aziraphale giggling as they go to dance. that's the whole season!

you know who Crowley reminds me of this season?

he's watching helplessly and with increasing levels of distress as Aziraphale shoves every plot point into the romcom hole even though it's obviously not remotely romcom shaped! and i'm sick of people saying he was abusive because he raises his voice about it a few times!

[violet-witch-6]

Gonna be real, my first time watching THAT scene I honestly wasn’t sure how they were ever gonna patch things up because I can’t even imagine the pain of standing in Crowley’s place after 6,000 years of loving someone in silence, trying to show them who you are at every opportunity, painstakingly chipping away at the delusion they’ve bought into since the beginning (more than you ever did) in order to show them the truth—to show them who you are (who the two of you could be together) —and then just as you’ve finally worked up the courage to lay it all out there and toss the dice hoping (with what, for the first time, you’re starting to believe are less than doomed odds) that they’ll love you back and that it will be enough—only for all of it to be dragged out from under you because they look you in the eye and all but tell you that they never understood you at all. They weren’t listening. And, sure they want what you want (to be together), they love you back (still unspoken but legible in the way they glow at the thought that they might still save you) (as if you need saving) (as if you’d want it)—but not as you are. They think the change they ask of you would be received as a grace and the betrayal of that is gut wrenching in a way that no flat out rejection could be, I think. If I were Crowley, I can’t imagine how I’d come back from that.

But then I watched the scene again. The moments after that betrayal. Once Crowley’s put his glasses back on, raised his defenses and sounded the retreat. I wondered, watching the scene again, how it could ever reach the point where the kiss made sense when they were already so torn apart. But the thing is that no matter how wrong Aziraphale was to want things to go back to the “way they were”, everything that led him to that conclusion comes from the thing Crowley loves most about him: his goodness. Aziraphale is good in a way that heaven is not, and Crowley knows that, but Aziraphale still hasn’t learned that lesson. He wants so desperately still to believe in god and heaven and the ineffable plan and even though it’s that desire that’s led him to hurt Crowley, I don’t think Crowley can completely begrudge him. By the time Crowley’s walking out of the book shop, the betrayal has already faded—not gone, but less than when compared to his sadness for Aziraphale and what his angel is going to go through when heaven lets him down (again)—assuming that it doesn’t just break him.

And the kiss—that fucking kiss (be still my beating heart)—that was Crowley planting a seed. “I know better than you do” he says and he does because Crowley has always been more honest with himself than Mr. “Master class in self delusion” A. Z. Fell. Aziraphale is about to be more alone and more lost than he has been in 6,000 years, so Crowley needed to make 100% clear to him where solid ground was. Aziraphale won’t be able to rationalize this away or hide behind propriety because it can only mean one thing and that is that he is in love with a demon whose on his own side with no interest in ever rejoining the heavenly host because heaven is not the epitome of goodness or love that he so desperately wants to believe it is. It’s not even capable of being that—no matter how hard Aziraphale tries to bend it back into what he thinks is it’s natural shape (because isn’t that what he wants so desperately to do as chief archangel? To make heaven the place he’s always thought it was?). Crowley really said “whatever you do next, do it knowing I love you”. He said “I’m done letting you ignore this.” And I get it. Cards on the table means cards on the table. No more half measures no more dancing around it—any of it. If Aziraphale wants to walk into the belly of the beast, then the least Crowley can do is make sure he’s doing it with his eyes wide open.

[dotster001]

Meeting Their Future Kids With You

Summary: Vil/Idia/Crewel/Crowley/Malleus/Rook x gn! Reader. A child suddenly appears. And it seems to have a connection to you? Requested by @stygianoir

A/N: It's in my pinned post, and I've mentioned this in a couple posts, but if this is the first of my stuff you've read, I view NRC as an actual college, so reader here is 18+. If it makes you more comfy, imagine it as grad school age.

CW: spreading my asexual Malleus agenda, especially now that I've been spoiled for the fact that the dragon lays an egg and all it needs is love to hatch. ASEXUAL MALLEUS CAN NOW BE CANON Y'ALL!!!! Anyways...his kid is the only one with physical descriptors, so do with that what you will 😅

3k followers masterlist

Something was wrong. There was a presence at Ramshackle that shouldn't be there. Could it be? Could someone be trying to steal you from him? No! He had only just started courting you! It wasn't fair. 

He poofed into your sitting room and froze. 

You were snuggling what looked like…a small version of him?

You looked up and your jaw dropped.

"Wait, I thought this was you!" You looked back down at the kid who giggled and made grabby hands at Malleus.

"Daddy!"

Ah! Yes, he understood now. Draconia genes were strong. This child clearly was barely old enough to even hold a human form, it was not out of the realm of possibility that it had accidentally used a time travel spell. Perhaps that was even the child's unique magic.

He walked over to the child in your arms, scooped it up, and gave it a soft kiss between the two tiny horns emerging from their head.

"It's wonderful to see you, but it's time to go home, little one."

The child nodded sagely and vanished in a puff of green smoke. You looked at him in complete confusion, but he simply laughed, repeating his kiss, but this time to your forehead.

He knew you were his soulmate.

He knew with a single glance. The familiarity the twin girls before him held in their gazes, the way they carried themselves, the hats on their heads. Everything screamed his influence.

And though that didn't make any sense, Rook knew his eye and his instincts were never wrong.

But there was something about the girls that was distinctly…..

"Rook! Hi- aw shit, please tell me you didn't kidnap some kids!"

So distinctly you.

The two girls shared what, to anyone but Rook, would seem like an unsettling smile as you approached the silent scene.

"Non non, they are just passing through, oui, petites fleur's?"

"Oui," they said simultaneously, grinning at you, their eyes taking in your every facial twitch.

"Uh, okay? Relatives of yours?"

"One could say that."

All three of them laughed, leaving you confused and a little frightened.

It was a normal day like any other. Searching for Epel who had once again fled his lessons.

And he had found him in the worst possible place. A mud pile with an already very muddy teenage girl.

Epel splashed the girl with a childish giggle, and she laughed hysterically.

"Papa was right, you were crazy!" She giggled making a mud ball and throwing it at him.

He dodged and it hit Vil.

"Ah shit," she whispered under her breath. But after a second of reflection, she grinned. "Wait, why am I scared? You're not the boss of me."

Vil glared, and she suddenly looked apologetic again.

Both Epel and the girl stared at the ground, completely avoiding eye contact.

"What school are you from?" Vil snapped at the girl.

She snickered but said nothing.

"Who do I report you to?"

She laughed louder. "Nah, I don't have to tell you shit."

"Language," he snapped, and tears filled her eyes.

"It was all uncle Epel's fault. I told him I didn't want to play in the mud, but he made me do it!"

"You absolute rat!" Epel shouted, picking up some mud and preparing to throw it.

Vil cast a quick spell, freezing both of you in place. He stormed over and snatched each of your wrists, preparing to storm off with the two trouble makers in tow, when he saw the shimmering gold bracelet on your wrist. Engraved on it was L/N-Schoenheit.

He stared for a moment, then groaned.

"Epel, remind me to never let you around my future child."

"He's my godfather," the girl grinned impishly, and Vil felt a part of himself die.

"Excuse me, I'm looking for my dad. You look like you could be related to him."

Idia knew he shouldn't have left his room today. All he wanted was a snack, and to maybe see you if you happened to not be in a class right now, and now this extroverted teenager was asking about his dad.

What the absolute fuck?

He quickly pulled out his ipad, typing something about how anyone related to him wasn't worth finding, when the twerp yanked the iPad out of his hands.

"Nevermind, I figured it out," the kid snorted. "Hi dad!"

Idia started stuttering. Not only was this twerp an extroverted teen who stole his iPad, he was also insane.

"Nah, nah, not today, not today…" Idia started muttering under his breath.

The kid rolled his eyes.  

"Forgot about this part. Guess they really did change you for the better," he started typing something on his watch, and a hologram popped up, showing the kid, you, and Idia…? Your and Idia's faces were a bit more lined than they were right now but….it was definitely you.

He stared at the hologram, his hair turning a bright red. 

"Oh! Hey Idia!" Your voice called from behind him.

He turned and waved to you shyly, then turned back to the teen. But he was gone.

And the damn boy stole his iPad.

If his hair wasn't already dyed, those two freshmen would have given him gray hair by now.

Once again, they'd made a potion explode in his classroom. And once again, the fallout would be a pain to clean up.

Where you had once sat was a small child. A small child who was looking at him expectantly.

"Well?" She asked.

At first he had assumed this small child was your child form. But no. She looked nothing like you. Though, she did have a similar glint in her eye.

"Who are you?" He asked softly, not wishing to scare the child with the rage that was building up inside him. He'd told you again and again that your friends were trouble, and now look where it got you.

Wait. Where exactly were you?

Before the girl could speak, a red smoke filled the room, and a him with a few more wrinkles appeared, dragging you by the wrist. Your face was covered in a vicious pout.

"I already told them," future Crewel said, eying the freshmen with a vicious glare. "No need to repeat it."

He opened his arms in front of the little girl, a warm smile taking over his features, as the girl climbed into his arms, snuggling into him. He pointed at you and the freshman one more time, said, "Behave." And vanished into red smoke.

Present day Crewel pinched the bridge of his nose, and pointed at you.

"He already said it," you snapped,punching Ace in the shoulder for good measure.

"Morning dad."

"Morning," Crowley muttered tiredly as he sipped his coffee.

Then he choked on it. There should be no one in his office right now. And there should be no one calling him dad.

He looked over and saw a kid who was somewhere between the age of 10 and 13 sorting through his stack of paperwork.

"Pardon me, but do you mind explaining what you're doing?"

The kid looked up and raised a brow in confusion.

"Um, morning paperwork?" He laughed nervously. "Wait did you forget that….uh, nevermind, I'll just go then."

The kid hastily made the papers into a pile, grabbed a backpack, and started to hustle out of the office. Only to be stopped when he bumped into you as you were storming into the office.

"Crowley! You promised you'd fix my goddamn roof!"

"Dad said I wasn't grounded anymore!"

Both of you shouted over the top of each other, and then stared in confusion.

The kid sprinted out of the office, knocking you over in the process.

Dire, meanwhile, released a delighted giggle, his face feeling warm as he grinned at you with a lovesick grin. Only to be annoyed as you brought up your roof again.

"If you excuse me, I have other things to attend to. I assure you that child will only cause trouble."

He ran out of his own office, no intention of actually finding his future son, only intending to hide from you.

Too bad you could always see through him, and were right on his tail.

[wordsinhaled]

thinking about how much crowley and aziraphale have been getting slammed for their poor communication and on the one hand... absolutely, i agree 100%. they have so much work to do in that department, they are always missing each other when it comes to seeing what they each want from the other and expressing it clearly. but on the other hand... like... encompassing six thousand years into a conversation? six thousand years of knowing each other. six thousand years of gravitating toward one another

like... the bit that really gets me, in crowley's confession, is - "...and we've spent our existence pretending that we aren't. i mean, the last few years, not really" - this implication that like... at least on crowley's part... since they saved the world together he's allowed himself to be more open in how he feels about aziraphale. that in his mind he's already long since chosen Their Side, they've chosen their side in their behavior towards each other, and they've talked about... our car, our shop, but even before that...

we see in the minisodes, the way they already act. they're a pair that shows rather than tells all the time and it's so abundantly clear that everyone around them can see it, is constantly asking about it, assuming it, reading it on them like they're an open book - with everyone but each other.

but like how do you put into clumsy human words how much love you feel for someone who stood next to you while you created the stars? who helped you create them? how do you say openly how you feel to the one person who understands you and your nature better than anyone else, who indulges your every whim because they want to see you happy while everyone else says you were built wrong, you're too indulgent, you're too soft but you're perfect for him, specifically, because you stood at the beginning of the universe together?

like how are they supposed to talk about that? especially when it's so forbidden to talk about that?

there are so few words that truly feel like they properly encompass what love truly and genuinely means? what loving someone TRULY means? how it's giving up your onliness and entrusting yourself into the hands of another, now you're not just you, now you're you but the world is brighter and sharper and more beautiful because of another? how we're all stuck on a spinning rock in the middle of space in the middle of the universe in the middle of the galaxy in the middle of eternity just little grains of sand and then there's another little grain of sand in the scheme of things, but it's the most important one ever created because of how happy it makes you?

but multiply that by six thousand years

so like of course you fucking cry and you stare at each other with tears in your eyes like you're absolutely ESSENTIAL to one another. but like how do you make it work in words when you don't know if there are even words for the prospect of existing without one another? and you have this absolutely incandescent and fragile thing between you that everyone understands to exist, you understand it to exist too, and sometimes it is scary as fuck to admit that you need someone. it is terrifying and uncomfortable and vulnerable and we're just people who live maybe 100 years on this earth? a blink of an eye compared to six thousand years of shared existence?

like...? truthfully i don't think i could talk about it easily either because oh my god that's fucking terrifying. that six thousand years of your comfortable and beloved shared existence could go up in smoke with one misplaced word. like no fucking WONDER he can't get the words out. and no fucking wonder, it's easier to couch things in terms like group and team and everything when you're on the verge of falling apart into a million pieces because the other half of your soul wants to leave you behind. it's easier to say come with me, work with me, be my second in command, than to admit he's first in your heart and mind every second of every day since you saw him bringing light at the beginning of the universe???

just... you know? they need a fucking break. they need a vacation. they need a cottage in the south fucking downs

[cobragardens]

Notes on the Scene in Job's Basement

Crowley is not tempting Aziraphale here. He's experimenting on him.

Getting Aziraphale to sin, or even getting him drunk, is not Crowley's intent in this scene. Eating food, taking pleasure in food, drinking alcohol, and even being drunk are not sins in most of Judaism or Christianity (and they're certainly not sins in British Christianity, regardless of any church's doctrine). When Aziraphale turns down alcohol, Crowley just suggests he try food instead; so it's not important to Crowley what Aziraphale tries, but it is important to him that he try something.

This scene is also the first time (chronologically) we see that Crowley likes to drink and likes to be drunk.

We know from

and from

as well as from Book Omens and Word of God that angels have no instinct beyond curiosity pulling them toward eating or toward gender. From this we can reasonably presume they have no instinct toward Beverages either.

That means that in this moment--

--Crowley is very likely the only metaphysical entity he knows on either side of the divide, or even knows of, who has ever experienced a physical pleasure.

And he probably has some Lingering Questions about it, like we all did the first time a physical pleasure blew our minds. Like,

Is it this strong for everyone?

Is there something wrong with me?

Am I going to hurt myself if I do this, like, a lot?

And it's not like the poor creature can ask anyone, because the answers for humans aren't necessarily going to apply to him.

So when he sees an opportunity, Crowley gets that one angel he knows who'll talk to him to try a human thing, and then he watches to see if physical pleasure hits the angel as hard as it hit him.

And that's why he looks so creepily pleased when it does.

Apparently it is this strong for everyone and there isn't anything wrong with him. Now he can relax and get sloshed without worrying, and he even has someone to talk to about how rad human stuff is.

A Dip Into Speculation

We know because we're shown this isn't the first time Crowley has gotten drunk that, watching Aziraphale, Crowley understands what he's seeing. I think it's really interesting that Crowley doesn't laugh at Aziraphale at any point during this scene, and he doesn't correct the way he's eating, either.

Maybe it's because this is what it was like for Crowley the first time. Maybe he got so drunk he passed out and woke up in a puddle of his own sick. Maybe he got so drunk he passed out and didn't wake up at all, and there was Paperwork and he had to get used to a whole new corporation just when he'd got the hang of having legs in the old one. Maybe somebody had to show him how to use a fork or whatever they had going on for eating utensils in Ancient Mesopotamia. I distinctly remember having to learn as a small child to chew with my mouth closed. There is every possibility Crowley doesn't consider the way Aziraphale is eating to be worthy of ridicule because whatever Crowley did the first time was worse.

Maybe he wants to leave Aziraphale set up for later embarrassment over his table manners. Aziraphale was a judgy bitch about the wine.

Or maybe it's something like Let him have this one. There can be rules to it later; let him just enjoy it, once, like a little kid with both fists in their birthday cake.

Maybe it's desire. There is some textual evidence for this. Once Aziraphale learns to eat properly, the way he does it is very attractive, and we know Crowley loves watching him do it.

I don't think it's overreaching even to interpret David Tennant's physical performance of Crowley watching Aziraphale eat as one of sensual or erotic pleasure. I mean--

I'm not saying it absolutely has to be erotic, but it's not a reach, or even a full extension of the elbow, to read it that way.

There's another meta somewhere [I'll link it when I find it again; if you know this meta, please drop it in comments!] that discusses how this exchange in Job's basement is filmed like an erotic scene.

Like Crowley, we all want to kiss this face.

Aziraphale isn't eating prettily, but he's eating lewdly, ravenously, desirously, and it's lit like romantic sex, not like gluttony. Whether that's funny or poignant or hot may depend on the viewer. Here's how Crowley's handling it:

Srs tho, any frame of this scene could have been painted by Artemisia Gentileschi.

Or maybe--and this is my favorite of the available interpretations--maybe this is what it was like for Crowley the first time and he doesn't interfere because he wants Aziraphale to come out of this as someone who's had the same experience Crowley's had so Crowley won't be so totally alone in having had it.

[fuckyeahisawthat]

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

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

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

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

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

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

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

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

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

[santacoppelia]

Putting the Meta in "Metatron"

(couldn't resist the pun, sorry)

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

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

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

obviously not tailored (almost ill fitted)

in dark tones

looking worn and wrinkled

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*exits, pursued by a bear*

[twilightcitysky]

Everything Is Meant (long S2 analysis, part 2)

Part one here

Okay, so that's how I think the pre-creation scene and Gabriel's arc connect to Aziraphale's choice. I also think the ineffable bureaucracy speedrun exists to prove totally different things to Aziraphale and Crowley: Aziraphale loves that they can love each other but notes they have to run away to be together; Crowley sees this and immediately thinks "hey, we can do that too!", forgetting that running away is not a solution Aziraphale has ever been interested in. It's the mentality of an individualist vs a group-oriented mind, and neither of them is necessarily wrong, it's just that their priorities are different and they HAVE TO TALK ABOUT IT, which they don't.

Continued analysis under the cut:

3. Let's take the Job minisode. Why include it? We already mentioned that it proves Aziraphale remembers Crowley as an angel, since he mentions it. And he believes Crowley is the same person he always was, and that he doesn't want to harm Job's crops or animals or children. Crowley tries to convince him he's a Big Bad Demon who is all in on this assignment, but fails utterly to kill even a single goat, soooo... Aziraphale comes to the conclusion that he knows what Crowley wants. Alert! Alert! This is a big problem! Crowley says, "What do you know about what I want?" Aziraphale: "I know you." Crowley: "You do not know me." But because Aziraphale got it right this time, he goes ahead assuming he'll always get it right, which is a crucial failure when it comes to the final reckoning. He doesn't ever ASK Crowley what he wants, he just assumes. When you assume you know what someone wants, you usually assume their priorities align with yours... he couldn't be more wrong about that. The Job minisode sets up this dynamic for them, and they never really manage to change it.

The other thing happens at the end of the minisode. Crowley acknowledges two crucial points: 1) he's lonely ("But you said it wasn't!" "I'm a demon. I lied"), 2) he doesn't think Aziraphale would like Hell. Aziraphale DOESN'T like Hell. Aziraphale hates Hell for what they've done to Crowley. He doesn't see Heaven as innocent or benign, but importantly, Heaven has never tried to hurt Crowley directly. They never threatened his safety. They never tortured him (as it's heavily implied that Hell did). Fast forward to the last ten mins of season 2: Aziraphale excited to tell Crowley that he can be an angel again BECAUSE: he never has to go back to Hell. They can never hurt him again, not the way they did before. And he doesn't have to be lonely anymore.

Last point before I leave Job: Crowley has the chance to cause Aziraphale to Fall, here, probably. ("I lied to Heaven to thwart the will of God!" "You did, but I'm not going to tell anybody. Are you? ...good, then nothing has to change.") He doesn't take it. He doesn't want Aziraphale to be a demon. He loves Aziraphale as he is. "Angel" as an affectionate. Aziraphale certainly doesn't use "demon" as a pet name for Crowley. I think they set up this scene to contrast the final one, and show how deeply hurt Crowley is that Aziraphale suggest he change.

4. Moving on to Victorian Scotland. This one confused me at first. I was delighted that they brought back the "the lower you start the more opportunity you have to rise" dialogue from the book, but apart from that I didn't really see the point of it. It seems like the statue of Gabriel and the fact that he and Beelz ended up at that pub in the present were more or less coincidental.

The point, I think, is actually not the girl, but the doctor. He's a person who is trying to do good by working in a system that's deeply flawed, and engaging in questionable moral practices for the greater good. (Cadaver dissection is still an essential part of medical school. You need dead bodies to understand living ones.) He shows Aziraphale a tumor he removed from a child who died, and Aziraphale clutches it to his chest. The camera zooms in and lingers to tell us that this is a guardian through and through. He wants to protect people. He wants to do good with every fiber of his being.

To Crowley, it's enough to just "be an us" with Aziraphale. He doesn't really want anything more than that. That's an issue! For one thing, it fosters unhealthy codependency, and for another, Aziraphale would never be happy without the opportunity to help and protect people. It's an essential part of who he is. Metatron knows that, and he plays Aziraphale like a fiddle. The doctor showed Aziraphale that you can make a difference even in systems that are flawed, and even if you have to do things you'd rather not do. Aziraphale doesn't want to go back to Heaven, but he truly thinks he can change things; thinks he can be a guardian with some real power. In his mind, that's the right thing to do.

Last thing that happens in Scotland: Crowley saves a soul from Hell, arguably, by preventing a suicide. He gets in Big Trouble. Whatever happened to him downstairs resulted in him coming back up, leaning on a cane, and asking Aziraphale to give him holy water. Go back and watch that scene knowing what we know now about the Victorian minisode. Ask yourself how Aziraphale must have felt. He likely blamed himself for what happened, because if he hadn't meddled then they never would have been there in the first place. He knew where Crowley was, and why he was there, and he had to sit with that knowledge for years. He desperately wants Crowley to be safe; is perfectly willing to push him away to keep him safe-- which is what he does do, the minute Crowley gets back.

Now think again about what Metatron offered him. A chance to keep Crowley safe forever. He'd never be harmed again. Aziraphale is going to take that offer, no matter what else is asked of him. He's shown over and over again that he'll sacrifice his own happiness to make sure nothing happens to Crowley. And he'll do it without talking to Crowley about it first, because he is a moron who doesn't know how to use his words. Leading Crowley to assume that Aziraphale doesn't love him. The idiot angel is doing it all out of love, but because he doesn't make himself clear Crowley doesn't know that.

Part 3: Maggie and Nina, and their roles as mirror couple/ Greek chorus!

[tenok]

.

[sensitivesiren]

(if someone has these screencaps please add them to this post - i'm technologically challenged)

I simply cannot get over the look that passes between Aziraphale and Crowley in s2ep2 when they restore Job's children and all of the angels turn to Aziraphale and ask if they're his new children, and we can see him squirm a little and dodge the question with "they certainly seem to be!" and then a few lines later the angels turn to him with an "Aziraphale, who are they?" an inescapable question, time is limited, he can't hesitate, but he LOCKS eyes with Crowley who is leaning against a post with his eyebrows raised in a whose side are you on stare.

And then it pans back to Aziraphale who hesitates, "They . . . are . . ."

and then he has this LOOK on his face, of acceptance, of resignation, and he makes eye contact with Crowley again, and says "They are . . . his new children."

He was ready to risk it all. Fully believing that he would fall for this. That look is a surrender. And he was ready to do it too.

He holds eye contact with Gabriel, blinking a lot, but not looking away. His smile doesn't reach his eyes. There's a brief moment of relief on his face when Gabriel claps him on the shoulder and believes his lie, but he knows that God will know what he's done. He fully believes he's going to fall for this.

And he looks to Crowley again, who applauds him. Aziraphale looks like he's going to be sick.

He's had several earth-shattering revelations in the last 24-ish hours.

Crowley (the demon) is good, and he believes it with his full chest.

God plays games for fun at the expense of others, and it's wrong.

Gluttony (he ate that entire ox)

Aziraphale believes that Crowley believes that blurring the lines between Good and Evil by questioning God and thwarting the will of heaven are exactly what caused Crowley's fall. (see you in hell)

Crowley and Aziraphale are on the same side, if temporarily, holding onto each other like a rock in a storm, with Aziraphale constantly looking to Crowley for reassurance, trusting him to have his back.

he's going to fall

I just feel like its overlooked that this was the FIRST TIME EVER that they teamed up (as angel and demon) and Aziraphale was fully ready to accept the consequences of that. He found something more important than choosing sides.