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i'm begging you guys to start pirating shit from streaming platforms. there are so many websites where you can stream that shit for free, here's a quick HOW TO:

1) Search for: watch TITLE OF WORK free online

2) Scroll to the bottom of results. Click any of the "Complaint" links

3) You will be taken to a long list of links that were removed for copyright infringement. Use the 'find' function to search for the name of the show/movie you were originally searching for. You will get something like this (specifics removed because if you love an illegal streaming site you don't post its url on social media)

4) each of these links is to a website where you can stream shit for free. go to the individual websites and search for your show/movie. you might have to copy-paste a few before you find exactly what you're looking, but the whole process only takes a minute. the speed/quality is usually the same as on netflix/whatever, and they even have subtitles! (make sure to use an adblocker though, these sites are funded by annoying popups)

In conclusion, if you do this often enough you will start recognizing the most dependable websites, and you can just bookmark those instead. (note: this is completely separate from torrenting, which is also a beautiful thing but requires different software and a vpn)

you can also download the media in question (look for a "download" button built into the video window, or use a browser extension such as Video DownloadHelper.)

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Is it just me or are the new tumblr users convinced there's a penalty of some kind for using this site like it's meant to be used?

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hey, don't cry. one cup heavy whipping cream, two tablespoons granulated sugar, three tablespoons cocoa powder and whisk until stiff peaks form for three ingredient chocolate mousse, okay?

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So, as you know, or don't, an employee got fired from Starbucks and they posted all the recipes online =)

part 1/2

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There is something extraordinarily intimate about touching someone while not even looking at them. It says:

- I know exactly where you are in reference to me, I don’t even have to look when reaching for you.

- I’m so confident in our relationship I know exactly how you’ll react when I touch you, I don’t have to look and gauge your reaction at all.

- I can interact with you while giving only part of my attention to you, I trust you completely.

- If I’m giving a large portion of my attention elsewhere, I still need to somehow feel connected to you.

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Michael Sheen is here for us in a way that cannot be fully understood. No matter how it's written Michael will deliver everything we want and don't even know we need in s3

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Just making sure everyone sees this

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Y’all I need to talk about how Aziraphale’s hands are a CHARACTER ARC. His journey can be seen in the way he moves & positions his hands. Hear me out on this. Michael Sheen is incredible. I’ve also shared this on my Twitter profile @NeuroCosmos. Ep 1: When Aziraphale talks w/ angels his hands are held tightly behind his back for whole scene. It’s like he’s restraining his hands:

When he’s with Crowley he moves his hands when he talks A LOT!:

So I thought: What if moving his hands when speaking is what’s natural for him? What if Heaven’s idea of a “good angel” means enforcing 1 way to move one’s body? On Earth, he usually keeps his hands clasped in front of him (sometimes behind back), like as if he feels he has to police his hands’ movements all the time. It’s w/ Crowley that he lets go. Ep 2:

Ep 3 with angels again:

You may be asking why I’m writing this. Well, when Aziraphale suppresses his hand movements, it reminds me of how I was forced to suppress my autistic identity. As a kid, I flapped my hands all the time b/c it’s how I naturally express myself. Neurotypical people forced me to stop flapping b/c it isn’t “normal” & must “recover from autism.” So I didn’t flap at all for a long time. I know how it feels to have to police your body for others 24/7. To me, Aziraphale hiding his hands in Heaven resonates w/ how so many autistic people are forced to pass as “normal” for neurotypicals’ comfort. Back to GO: After Ep 3 he stops hiding his hands from the angels AT THE SAME TIME he starts questioning the Great Plan! In Ep 5 when he officially rejects Heaven’s ideology, he moves his hands in Heaven for the first time:

As Aziraphale comes to know who his true self is w/o Heaven & chooses “our side” w/ Crowley the less he hides his hands. What hit me hard yesterday while watching in Ep 6 was that when Crowley as Aziraphale is held by Heaven, his hands are tied to the chair. Heaven literally restrains his hands from moving! It reminded me so much of how some autistic people have had their hands restrained to keep them from moving their hands. Then Aziraphale as Crowley resists Hell by flinging holy water w/ his hands at the demons! Like a fuck you to anyone who tried to silence him! I’ve begun to flap my hands again so I can reclaim my body as mine. I still hide it from my family b/c they’d react badly. But I’m doing if & that matters. Last scene of GO: Aziraphale freely moving his hands while talking to Crowley. If Aziraphale can find freedom, so can I.

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An angelic meta.

Ok. I'm starting my 13th rewatch of season 2, and Episode 1 made me think about the nature of angels. Not in a theological way (well, maybe a little), but in the narrative.

Before this episode, we have only met angels as they are now. I mean, we have seen Aziraphale through the ages, but the other angels we saw during season 1 (Gabriel, Michael, Uriel, Sandalphon, Anderson [sherlockian joke, sorry]) we have mostly seen them in the present age. They are mostly jerks, rigid, uptight, righteous, full of themselves, they can be cruel and sometimes downright malicious (yup, Michael and Sandalphon, I'm talking about you, utter pieces of...)

But the first minutes of season 2 present us with not 1, not 2, but THREE angels in their "factory setting" status (yup, that's sort of a reference to the fanfic with the same title, if you haven't read it, go check it on AO3). In the first 30 minutes of the season, we would also get to know Muriel, the lesser angel we've met so far.

We find out that angels can be:

Full of joy and awe

Tender

Honestly, genuinely surprised

Full of curiosity and wonder

Openly loving (that "You are funny, I love you!" gets me every time)

Enthusiastic

Generous

Naïve (infinitely naïve, even when being jerks. That's what makes some of their misconceptions, misdirections and prejudices so much fun)

This, I would say (and this is where I bring Theology into the equation) is how Divine Grace looks like. For Catholics, "grace" depends on the intermediation of the Church (one of the bones I actually had with the lot before leaving), but when you talk about angels... Well, they are created to be in full contact and awe with Divine Grace in a natural way (because they are created immersed in that grace, perfect, and they get blessed by acting in order to follow that loving nature towards God... and if they resist that nature is when and why they fall). Thomas Aquinas explained this in extenso (and my best friend, who is a Medievalist, Philosopher and fan of Thomas Aquinas has explained this to me in a 15 minute long audio, so I'm more confident about what I'm writing now, ha)

Well, now let's leave the theological bit behind. What piqued my interest was, as a matter of fact, watching Jim/Gabriel enjoying hot cocoa. We can oppose his joyful discovery to a couple of moments:

Gabriel's reaction during season 1, episode 1, when he finds Aziraphale enjoying sushi. "Why do you eat that?" and his face of disgust when thinking about "ingesting things" vs. the happiness of his experience, at every level, when he feels and tastes the cocoa (the mouthfeel, the taste, the heat, finally arriving at his stomach). He grows so fond of cocoa that it is his comfort thing for the rest of the season.

Aziraphale's first experience with food in "A Companion to Owls" (the Job minisode). At first he has the same old attitude we have seen on angels about human food: it is somewhat disgusting... But after he tries it, he discovers the huge pleasure it gives him and he goes wild with it. The love of food and the pleasure of eating exquisite things is still one of his defining traits.

But I would also put out a little note about how Aziraphale was, since the beginning, somehow conscious about the possibility of "falling from grace". If Angel! Crowley had been immersed in the creation of galaxies and stars, Aziraphale had been involved in the creation of Earth and humans. If I understood most of what my personal theologian explained to me about how the notion of "grace" had to be questioned and reinterpreted around how humans can have free will but also achieve grace, and what did that mean for the angels... Well, it redefined everything (the one who started asking all those "silly questions" around the Theology of Grace was Augustine of Hippo, and Thomas Aquinas had to rework ALL of the ideas around angelic grace using Aristotle to justify many things... And that how they came to be known as Fathers of the Church for Catholicism).

So... Angels in their "natural" state are joyous, cheerful, naïve, full of wonder and curiosity. Something (The Great War? Maybe... But maybe something before that) showed them distrust, made them rigid, self-righteous and simply... awful.

Where does this leaves my second favorite angel, Muriel? Well, they are still that sort of angel: that is one of the best things we found about them in this season, and why most of the fandom has already adopted them as our sweet child of divorce. So, she is still full of Divine Grace, and ingenuity.

This word, I believe, will become an interesting characteristic during season 3. Why? Because I'm not a native English speaker 😂. As such, it is more evident that ingenuity has a double meaning: both being an ingenue (naïf), but also being inventive, talented and witty (even wise). I offer a couple of contrasts too, to build up on this idea:

They had been called "dim" by The Metatron. I've already talked about how this is his "fatal flaw": he is underestimating his opponents and expecting everything to be predictable, but ingenuity usually beats predictability (Crowley is also a master of this)

Another character we saw during season 2 that was full of ingenuity: Shax. Yeah, she is not the sharpest tool in the shed, and she is cunning... But that's because she embodies those both sides of the idea! She is ingenuous and still asks Crowley for cues about how to work on Earth, but she is also ingenious and is always planning schemes for her own benefit (even when they blow up in her face). Also, she was the first one to determine that Gabriel had to be in the bookshop, even when she couldn't see him or detect him, and was so certain as to launch an attack.

I've rambled a lot, and I'm now a bit peckish. Do with this information what you like!

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Romantic expectations and the story we didn't see: A magic trick hiding in plain sight

Here's a hopeful meta for all my fellow celestial brainrot sufferers out there. Cheers! :)

This idea started as a dead end, trying to track the movements of Crowley’s sideburns/tattoo because I thought time travel shenanigans were afoot. I had to abandon that theory when it was pointed out that David was simultaneously filming as the sideburns-having Fourteenth Doctor, and in-universe Crowley can do whatever he wants with his facial hair whenever he feels like it. But hey - null findings are still findings!

On the bright side, pausing the show to make notations in a spreadsheet forced me to slow down and notice other changes I'd overlooked the first time around: acting choices, costuming choices, references to book lore. And possibly a few surreptitious flicks of the wrist, in places where we’re meant to be focused on the magician’s other hand.

@amuseoffyre and @ineffablefood had a great exchange recently about romance and “the significance of misdirection and three-in-one (magic) tricks” throughout the show. I suspect Neil has done something brilliant with the audience’s long-standing expectations (since the 1990s, really) for the love story between Crowley and Aziraphale to develop. And while it is a wonderful story indeed, playing to this expectation lets Neil distract his audience from the blink-and-you'll-miss-them seeds he's planting for the final chapter.

Continued below the cut...

Let’s start at the beginning of Episode 2. First, context: In the previous installment, Crowley stormed out of the bookshop, was whisked away to Hell by Beelzebub where he learns about the Book of Life threat to Aziraphale’s existence, then returned to the bookshop to dance a little apology dance and hide Gabriel with an unintentionally massive joint miracle. In S2E2, we and Shax catch up with Crowley as he's snoozing in the Bentley.

Shax: “You’re in trouble”

A. J. Crowley, cool as a cucumber: “Obviously. Former demon, hated by Heaven, loathed by Hell. How will our hero cope?”

Interesting! Sarcastic? Yes, absolutely; but that’s also a good 4500 years and an averted apocalypse away from “I’m a demon. I lie,” wouldn’t you say? Someone is sounding a whole lot less depressed and aimless and navel-gazey (do snakes have navels?), and a whole lot more like he’s got a project to focus on, since his "what's the point?" ruminations on the park bench in E1.

And of course we all noticed the costume change right away. Hello, black turtleneck. Feeling cute today, thought I’d cover up my graceful long neck? That sounds unlikely. Let’s put a pin in this one.

There’s also an interesting acting choice going on here. Crowley speaks to Shax in a funny, drawling, too-cool-for-you voice that we haven’t heard in a while. Specifically, not since 1967. If you go back and give the S1E3 scene in the Dirty Donkey a listen, you’ll hear it (and if you know of another instance of it that I've missed, please let me know!). In S2E2, he keeps up this odd voice (if anybody knows what kind of affect this is supposed to be, please do tell!) throughout this dialogue with Shax, except for the brief moment when she first surprises him about the joint miracle having been detected.

1967 was a fun year. Crowley masterminded a heist! And seemed like he was having a ball doing it, right up until his little caper was called off after Aziraphale brought him the thermos of holy water. Crowley spoke to his co-conspirators in that same funny, very 60’s-caper-film voice. He wore a hip 60’s turtleneck. He bought petrol for the only time ever, so he could get those sweet James Bond bullet hole decals for his car (per the book, seen on the Bentley in the show).

Those James Bond bullet hole decals would of course have been part of a promotion for this 1967 release, which you just know our film-enjoying demon went to see in the theater:

Starring this suave, be-turtlenecked guy:

And now - begging your forgiveness - a brief rant.

There are a number of posts out there that refer to Crowley’s S2E2 turtleneck as a flirtatious sartorial choice - actually, ‘slutty’ seems to be the favored accusation. There are even a few posts floating around commenting on how sweet it is that Crowley swaps out his slutty, kinky, throw-me-over-your-desk-and-take-me turtleneck for a more dressy and appropriate collared shirt specifically to attend Aziraphale’s Jane Austen ball. 

Now this is all in good fun, and Crowley does indeed look fantastic here, and I do love a good fangirling sesh as much as the next person. However, fandom’s collective tendency to interpret what we are seeing on the screen through the lens of romantic expectation can, at times, give rise to a kind of blinkered enthusiasm that obscures the original text in a haze that is part Mandela Effect, part unrestrained horniness, and part in-group code talking and identity reinforcement.

Respectfully, Crowley’s black turtleneck does not appear at all in S2E5: The Ball. In fact, it never appears again after the end of S2E2.

For Someone’s sake, let’s collectively pull our heads out of the romantic fog/gutter for a moment and focus on what we are actually seeing in the book and on the screen. For Crowley, this is an uncharacteristic within-period costume change. There is a surreptitious flick of the wrist happening here, out in broad daylight, and we are all missing it.

So here’s a thing. Aziraphale appears to have settled comfortably into life on Earth, his neighborhood, his books, using Crowley as an outlet for sharing his good deeds that he would once have reported to Heaven. Meanwhile, at first glance, Crowley appears stuck in a rut. There he slouches on a park bench with Shax in S2E1: a guy who lives in his car, stagnantly clinging to old familiar habits, mulling over the pointlessness of it all.

Setting aside the bit about living in the Bentley (I’m going to attribute this to well-documented issues between him and Aziraphale, discussed in many other excellent metas, and move on), Crowley has at least two very good, proactive reasons for maintaining his contact with Hell through Shax. First and foremost, it’s a source of information he can use to keep ahead of potential threats to Aziraphale and himself.

But also, I would posit…he kinda likes it.

Recall that book GO was first conceived as a parody, with Aziraphale and Crowley as spy-against-spy (but not really) field operatives in an ages-old cold war between Heaven and Hell. Their entire book dynamic is rooted in the trope of two opposing agents who have been in the field for so long that they now have more in common with each other than with their respective head offices. Their St. James’s Park meetings among other spies and ministers trading secrets are a sendup of what was once a well-known Cold War-era cliché. 

Our contemporary Crowley still likes slick outfits and hellaciously expensive watches and high-performing vintage cars and pens that write underwater while looking like they could break the speed limit. He coaches Shax on how to blend in as a demon on Earth, and he helpfully redirects the wayward contact looking for the Azerbaijani sector chief. He loves improvising and getting away with shenanigans under the institutional radar. And boy golly was he impressed with Jane Austen: master spy, brandy smuggler, and mastermind of the 1810 Clerkenwell Diamond Robbery. 

And if you look at it a certain way, for as long as Crowley has considered himself to be on “[his] own side” - going at least as far back as Job - he could almost think of himself as a sort of double agent. It’s actually a very romantic sort of notion, befitting our hopeless romantic of a (professedly former) demon; but it’s romantic in a very different way than we, the audience, have been primed to watch for.

In other words, in a very “on my own side” kind of way, Crowley really gets a kick out of being a spy. Or at least, dressing up and accessorizing as one, and moonlighting as a good-doing double agent when he can get away with it. And also being a plotting criminal mastermind. Two sides of a coin, really. Just look at Jane Austen.

My point is: No, Crowley did not wait around for Shax to come find him in a turtleneck so that he could go flirt with Aziraphale later. He’ll flirt with Aziraphale no matter what. No, this:

is actually this:

Much like the one he wears to the Dirty Donkey in 1967: 

whilst holy water heist-plotting. Here's a clearer shot with gratuitous Bentley, because I love them:

…and which he'll wear again, with appropriate camouflage, while infiltrating Heaven in S2E6:

That is the 1967 planning a HEIST turtleneck for committing ESPIONAGE and STEALING THINGS in. Because turtlenecks are what modern human master spies wear to get their hands dirty - after all, he saw it in a movie once. 

Crowley dons his tactical turtleneck sometime during the first major break in the action (which doesn't happen until after the joint miracle to hide Gabriel) after he learns about the threat the Book of Life poses to Aziraphale. Loverboy started mentally preparing himself to go after that book immediately upon learning that it was in play as a genuine threat. 

Now let’s pick up at the S2E2 Dirty Donkey scene, reading the story from this angle. Of course, Crowley enables Aziraphale’s delusions about Heaven by hiding information from him, and does not disclose the Book of Life threat when they meet again. They go into the pub, Aziraphale shamelessly paws Crowley’s chest like the seductive Bond Girl he is, and Crowley gets to act all smooth and suave and intimidating as he chases off the interloping Mr. Brown (or Mr. Collins for the Pride & Prejudice fans, take your pick).

Ergo, theory: beginning in S2E2, Crowley is already thinking of himself as a Jane Austen/James Bond action hero (“How will our hero cope?”), psyching himself up to rescue Aziraphale by getting his spy game on and stealing the Book of Life.

Now, watch closely...This is where Aziraphale and Crowley brainstorm their plans to solve the problem they both know about: getting Maggie and Nina to fall in love and thereby get Heaven off their backs. Crowley’s vavoom plan is drawn from yet another movie (“Get humans wet and staring into each other’s eyes - vavoom, sorted. I saw it in a Richard Curtis film.”). But Crowley also implicitly shares his solution to the problem he hasn’t told Aziraphale about. And true to form, Crowley’s Jane Austen solution isn’t the same as Aziraphale’s Jane Austen solution. 

Two solutions that fail by the end of Season 2, and a secret third one that might still work...and there's our magic trick of three.

‘“I’m lost. Am I doing a rainstorm?” Yes, babe. And a heist, too - just not until season three. Can I get a wahoo!? 

I won’t spend time on A Companion to Owls during this meta, except to note that in all three minisodes, we get to watch stories that involve Crowley acting as a double agent on “his/their own side” - successfully making Hell and Heaven think he’s fulfilling their will while saving Job’s goats and children; failing to fool Hell when he does a good deed in Edinburgh; and of course, collaborating with Aziraphale whilst evading detection as an infernal turncoat during the Blitz.

(Because this is getting long, I'll also skip over Crowley's interrogation of Jim in this episode - I'll probably come back to that in another meta. But interrogating is a rather spy-ish thing to do.)

When we catch up with Crowley again later, he’s already slipped out of the bookshop, having left Aziraphale to his biblical reverie about Job. He saunters snakily down Whickber Street as usual, but with a very pointed and swift glance over his shoulder (see pic above). This demon is up to something - possibly something we didn’t get to see, something that may have happened offscreen while he stepped out. In any case, knowing there’ve been unfriendly angels in the neighborhood that morning, he’s rightly concerned about being spied on.

From this point until the beginning of episode six, there isn’t a whole lot of opportunity for Crowley to make any next moves. He babysits the bookshop, during which time he manages to wring some crucial information out of Jim; he follows his Crowley’s Angel around like a puppy, and downs a bottle of red like a good old fashioned lovesick boy once that’s been pointed out to him. If any plotting or scheming is underway, this occult being is keeping stumm for now.

This has been a long one, so I’ll wrap up with Crowley’s infiltration of Heaven with Muriel. The turtleneck disguise works (Archer fans, be vindicated!) long enough to gather some information that will be crucial not just to the denouement of S2, but also to Crowley’s journey in S3 (previous post on Crowley's Fall, Saraqael, and memory wiping). And Aziraphale gets to enjoy that view exactly zero times. The point isn’t oh, a turtleneck! How flirty! So cunty! So cute! Y’all. Everything matters. The costume change was a deliberate choice. In-universe, Crowley’s decision to wear his special spy turtleneck for spying in is a signal that he is out doing spy things, even as we watch.

In sum: Beginning in S2E2 and continuing through the end of the season, Aziraphale and Crowley are actively living out the scripts of two parallel, concurrent, and completely different Jane Austen stories. But you and I, dear fellow audience member, we came here for a comedy with a hefty jigger of romance, and that’s what Neil gave us to focus on. And right up until the Final 15, that was the only story we saw.

Meanwhile, Special Agent A. J. Crowley doesn’t have time to mope around at the end of S2E6. He’s kicked down, but he’s not out. He's got a Book of Life to steal, a very serious bone to pick with a certain memory-wiping angel, and his Angel and the world to save. 

“‘Heigh ho,’ said [romantic, optimist, former demon, hero, master spy] Anthony Crowley, and just drove anyway.”

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I’m sorry friends, but “just google it” is no longer viable advice. What are we even telling people to do anymore, go try to google useful info and the first three pages are just ads for products that might be the exact opposite of what the person is trying to find but The Algorithm thinks the words are related enough? And if it’s not ads it’s just sponsored websites filled with listicles, just pages and pages of “TOP FIFTEEN [thing you googled] IMAGINED AS DISNEY PRINCESSES” like… what are we even doing anymore, google? I can no longer use you as shorthand for people doing real and actual helpful research on their own.

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still thinking about wolf 21

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Gardening is a Crowley thing. The only thing Crowley devotes any personal attention to in his apartment is his lush garden which he demands meet his exacting standards.

When Crowley and Aziraphale have to spend years in each others back pockets raising Warlock Dowling, Aziraphale chooses to disguise himself as …the gardener. You can’t tell me Aziraphale didn’t spend half his time trolling Nanny Crowley with his ‘kind-hearted’ and ineffective gardening techniques.

I can’t help but picture Crowley, dressed as Nanny Ashtoreth, in the garden, at 2 in the morning, viciously doing some damage-control ‘gardening.’

“Just enough of a bastard to be worth knowing” indeed.

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Aziraphale's vest

I'd like to take a second and talk about his vest because I think it's a really good metaphor for Aziraphale's internal feelings.

At first glance it's obvious the vest is quite old. Really old in fact if you note the way it's practically disintegrating.

And it got me thinking a bit. The way the white practically bleeds from the edges of the neck, shoulders and buttons, going further and further, one day if he's persistent enough to wear it, it might even take over the entire vest. You could say that that, somehow, mirrors Heavens influence over Aziraphale. Slowly, slowly, biding their time, until it has completely ridden him of any colour. Until it has completely washed him of his identity, of his originality, of his character.

Take a look at his clothing when he's up in Heaven.

Completely and utterly white. Every piece of clothing he's wearing is pure and untarnished white. Upon entering Heaven, against his own accord, it has stripped him of his uniqueness, of anything that might distinguish him from any other angel who blindly follows orders and who's sole purpose is to do Heavens bidding.

Now, he could miracle the white patches on the vest away easily. But he doesn't want to.

The thing is. He likes the imperfect. He likes partaking in human activities and pleasures, like food, music, etc. Likes to indulge himself in earthly things Heaven would label as sinful or "sullying." And as someone who bas been on the receiving end of Heavens ridicule and passive aggression for millenia, as someone who for centuries has been told that he's underperforming and needs to do better, as someone who is all too aware of his own impurity by the standards an angel should hold and of the quite frankly unholy behaviour in performing immoral temptations and directly going against Heavens orders no more than a few times throughout the eras, it's no wonder he finds comfort in the imperfect.

He keeps the deteriorating edges because they are a perfect representation of his own internal feelings and image. After all, there's no rule that says he can't. And a big kudos to the costume department, for the patches perfectly encapsulate his religious trauma. Without it, he would probably be a very different person. He wouldn't be the same Aziraphale we know and love. The same way he likes being old-fashioned with his clothes and how that is a part of who he is, his trauma is a part of him as well, along with Heavens influence that has shaped him into who he is today, whether he likes it or not.

Every part of the vest illustrates Aziraphale's character and internal feelings, which brings me to another point I want to draw attention to, and that is the BACK of the vest.

It's DARK. And I don't think I'm mistaken when I say that most of us didn't expect it to look like that from behind. We all just assumed that it would be the same beige colour as the front, which is in tune with the rest of his attire. After all, seeing him wearing a dozen different outfits all throughout history, all of them some shade of white, it was the logical conclusion.

But no.

It's not white. It's a dark, slightly viridian or a dark blue colour. "Dark blue suggests a more mysterious depth or ominous quality. Power and authority: Dark blue signifies power and responsibility. "

Not what we would have expected that colour at all. Similarly to how one wouldn't expect an angel to perform temptations or be gluttonous, or envious, or slothful, or hedonistic. Not at first glance anyway.

Not unless you look carefully.

Not unless you know him.

The coat almost acts like a cover. The light over the dark. Almost as if it's trying to hide something. The only times we see Aziraphale not wearing the coat is in his bookshop. Which is logical, of course. You wouldn't wear a coat indoors, obviously. Except he DOES. He wears the coat when he and Crowley are drunk, he wears it when he's reading Agnes Nutter, he wears it when Gabriel and Sandalphon pop in, he wears it when he's talking to the Metatron, he wears it when he's listening to Shostakovich, he even wears it at the Ritz where it would be custom to take off your coat while dining. And it's worth noting that during the events happening (at least in the first season), the season is summer. Which would make it quite ridiculous to be wearing so many layers everywhere you go and therefore risk boiling. But he still wears the coat.

The only times he doesn't wear it is in the first episode after the sushi, when he's all ALONE, and in season 2 at the bookshop when Crowley comes back and in 1941.

And there's something oh so personal about that.

I don't think it's a coincidence that the darker part is specifically the back of the vest. There's always been this natural human instinct to protect yourself by never ever turning your back on a foe. And I don't think this is a conscious effort on Aziraphale's part, but rather genius writing, directing and costume design, and anyone who's watched and read Good Omens knows that almost nothing is coincidental.

Note this is probably the first time Aziraphale has called Crowley his friend, seeing how uncertain and doubtful he was to even say the word in this scene and how quick he was to deny their friendship in the Shakespeare scene. And the camera immediately cuts from Crowley to Aziraphale, who is turned away, whose back is turned to Crowley oh so casually without a care in the world. Just before he calls him his friend. His back is turned, and so is the dark part of his vest.

The dark part he only shows in his bookshop, when he's alone and there's no one there. The part that he now only shows to Crowley as well. Crowley who knows him so well and who's been with him through everything. "I won't tell anyone if you won't." And "you said trust me""and you did". Just this small motion of Aziraphale depicts exactly how much trust he has in Crowley not only that he'll keep him safe and protected but to accept him just as he is, to not judge him, to not demean him for his imperfections as an angel. Practically mirroring Crowley's self-protection mechanism that is reflected in his motions to hide his eyes with his sunglasses (there's a wonderful meta on this by @simply-brightly-zee here )

And it might just be clothing, or it might just be genius symbolism, but note how self-aware Aziraphale is of his looks when Gabriel pops up.

The desire to impress is almost unconscious in this scene, and how does he go about doing it? By making sure he looks presentable. Presentable, despite the white patches and the vest that is falling apart, he doesn't even realise it. Therefore, it's clear Aziraphale puts thought into his clothes, whether consciously or unconsciously.

I personally dont think any of this (the coat, the patches, the way he turns his back, when, where and around who he's most comfortable) is a deliberate and intentional act on Aziraphales part but rather creative brilliance from the directors and producers. So him being shown to expose the back of the vest only in scenes with Crowley (and the one in s2 infront of an amnesiac Gabriel with the intelligence and awareness of a squirrel) is a master move on the costume department's part. The symbolusm being so small and imperceptible, but holding so much meaning. This small metaphor shows how much Aziraphale trusts Crowley and how comfortable he is around him. Crowley who knows about Aziraphale's transgressions, sins, unholy behaviours, lack of interest and dedication to his job, and overall "incompetence" as Aziraphale might put it and how he's "just enough of a bastard to be worth knowing". Crowley, who will accept him and love him no matter what. Not despite those things, but because of those things.

They have found their "own side".

Edit: Not that important, but I just want to mention how, despite being tattered and falling apart, the vest is still in perfectly good condition. No matter the white seeping in and draining its colour, the vest doesn't have a single seam torn, not a button lost, perfect as the day it was bought. No matter what it's been put through, it's still kicking, whether by miracle or sheer willpower. Very much like the person wearing it.

[deductions-and-magic]

I drew a little something for the Hiveworks micro comic summer~

[deductions-and-magic]

Okay but like Aziraphale asking Crowley for things isn't just for Aziraphale. In fact it's often something Aziraphale does for Crowley. If Aziraphale asks, even wordlessly, this creates a scenario where Crowley is allowed to do something nice for someone while being allowed to hide it behind the context of an eye roll or an if you insist. It puts a degree of removal between Crowley and the act itself that makes it easier and safer for him to do. Crowley likes to do nice things. Aziraphale knows this. Just like Crowley knows Aziraphale likes to be cared for. They've stumbled this way into this mutually beneficial act where Aziraphale gets to indulge in being indulged and Crowley gets to indulge in doing the indulging - which are both things they do not normally get to indulge in - because they're complimentary even in this.

Asking the being that just quoted poetry at you to save this dying play you're both watching. Creating scenarios for him to rescue you when you know he loves the chance to get to save someone for once. Letting him drive you both around in his fancy new machine he's so delightfully proud of even though you got a license the same year he got the car. Asking him to remove a stain so he can act like you're the dramatic one while taking all the joy in theatrically removing it for you. They're all acts of mutual care and love. Because they're both so hopelessly smitten with another they can't help themselves from indulging the other.

[deductions-and-magic]

michael sheen playing aziraphale is like someone being assigned a 500 word paragraph as homework and instead they turn in a 5 page essay complete with hand drawn diagrams, a paper maché model, and a box of homemade shortbread to share with the class