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aziraphale's avoidance issues, though

like they're similar to but also different from crowley's. because crowley physically tries to avoid things, like let's leave the bookshop when angry, let's suggest going to alpha centauri when the world's in danger, let's drive gabriel out to dartmoor and leave him there, etc

but aziraphale mentally checks out. let's pretend like it's silly to be wary of an amnesiac archangel who has previously threatened us and could regain his memory with no warning, let's fixate on hooking up these two random humans instead of thinking about the very real threats being levied against us by heaven and hell, let's ignore a goon squad of demons right outside the door so we can have our jane austen fantasy ballroom dance, etc

aziraphale is just as prone to running away as crowley does, but like many things with them, he tends to do it internally instead of externally. like yes on the one hand he is a determined optimist, he's not naive he chooses to believe in good things and try to make them happen.

but on the other hand, his approach to a lot of bad stuff is to just sort of not think about it until it's throwing a brick through his window

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The thing is, Aziraphale does see Crowley. He can see Crowley is on edge, he can see he isn't happy. There are many ways in which he is adept in reading expression and gesture (all those years through dark glasses), and the things Crowley does say, with the indirect speech they've both been forced to adopt. Aziraphale sees him and he knows he's not okay.

But they've switched roles, and Aziraphale doesn't know how to be the one who comforts and reassures. Partly it's because he's spent his whole life being afraid, and Crowley mostly wasn't -- Crowley was always the one saying never mind, they never check, they don't care who does the job so long as it gets done. Now Aziraphale is finally at a time in his life -- oh glory -- when he thinks he doesn't need to be afraid, and he doesn't know what to do with Crowley's fear. Just like he didn't know what to do with it when Crowley first asked for holy water.

And that's the other thing about Aziraphale: he's not okay with not being okay. Negative emotions are not okay. You don't feel them, you don't acknowledge them, you certainly don't discuss them. "Buck up, Hamlet!"

It's his flavor of traumatic upbringing, of course, but some of it is specific to Aziraphale himself. At heart, he's an idealist. Aziraphale believes in better. It prevents him having a fully reciprocal relationship with Crowley or even with himself, because only good things should be allowed, and if things aren't okay, then by God (yes), he will make them okay.

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this whole time we’ve been fixated on “A sudden rainstorm forces them together beneath a canopy” and yes that’s obviously referring to Crowley & Aziraphale sheltering each other at the start of both seasons, BUT what we never actually see is them together under a canopy. They’re always protecting the other person. There has not been time or opportunity for them to look into each others eyes and “vavoom” or whatever the fuck Crowley was on about, because they’re always too fixated on protecting, rather than working together to protect themselves as a group of the two of them. Big old metaphor for their whole relationship :(

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Someone on twitter has lightened a shot of Crowley's sunglasses-covered eyes in the coffee shop scene 👀

https://twitter.com/AziraQueen21/status/1692994615723377145

Azdjdjdjjdjdjdjdjdjdjddjj!!!!!!!!!

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about the nature of the kiss. I don’t read much anger there, if any at all.

after Crowley gets in the last word, could have been us, he fully intends to walk away. probably expects Aziraphale’s usual measured denial, his righteous superiority. yet another one of his rejections. but this time it’s different because instead of dismissal Aziraphale turns away and… cries.

it’s the first time Crowley’s ever done that—made his angel cry—so he goes to him, reflexively. a rescue or an apology. there's hope there too, because in the moment after no nightingales Aziraphale just stands there, vulnerable, unable to summon a composed smile or defensive laugh. because he knows. their code's been laid bare and there’s no more hiding. Aziraphale crying means that his heart is breaking too, which means that there’s love there to wound. and Crowley’s reaction is to try to fix that hurt in a rush of love and dismay.

so. I don’t think he means for the kiss to be part of the argument at all. no strategy, no antagonism, no temptation intended. though when they break apart it’s clear that Aziraphale has received it that way. because anything is better than feeling what he's about to lose.

(had been wondering why the nightingales line hits Aziraphale so hard then I read this post about the significance of nightingales singing and I couldn't stop thinking about all the times they veil their meaning. also thanks to @justhereforthemeta for commiserating with me about this particular thought ♡)

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Please let them hold each other when they are both alive and awake and relieved.

Please let Crowley be gentled. Let him be touched by trembling, soft hands and hugged by trembling, soft arms that have yearned to feel him in this way for millennia. Let Aziraphale's embrace wake in him a new understanding of his own importance, of his serpent eyes and his questions and his whole self as the very center piece of the puzzle that Aziraphale has been putting together since the beginning. Let him feel, in a hold that is gentle on the inside and protective on the outside, how infinitely wanted he is.

Please let Aziraphale be held so, so close. Let him feel the longing that Crowley has dammed up inside for thousands of years, and let him learn how it feels to make that desperation into fulfillment. Let him sense with dawning wonder that he, with his worn-down waistcoat and hard-learned French and spectacles he doesn't need, is the greatest good his favorite person has ever known. Let him feel in his counterpart's snug embrace how cherished he is, how much better he is than "good enough."

I'm not gonna lie, I would really love to see another kiss, now that kissing is narratively relevant. I'd like to see a passionate but gentle one, maybe to symbolize the overcoming of the pain they were feeling during the last few minutes of S2E6, to symbolize them finally, finally, at long last, being on the same page.

But more even than that...please let them hold and be held. They've been each other's emotional holding space for thousands of years. They've been each other's place where it was OK to question, to enjoy the world, to be soft. Please let them act it out.

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Let’s talk about the moment Aziraphale *almost* denies the Metatron.

“Anything you need to take with you?”

“No. Nothing I can think of.”

His voice is uncertain. He gazes longingly through the window, where Crowley waits by the Bentley. Aziraphale hasn’t lost him yet. It isn’t too late to change his mind. We can see it play out across his face, and he wheels on the Metatron.

“I—I think I…”

What? Changed my mind? Made a mistake? Can’t do this? Can’t do it without Crowley? The micro expressions going on in this second look out the window are absolutely crushing. The hint of a smile is gone. His face is cast in shadow. He is resigned.

He’s decided. The possibility he could fix things in Heaven is too strong a draw to back out now. Crowley is still waiting out there. He’ll always be waiting. Maybe Aziraphale can make a better world for him.

“Nothing at all.”

This smile is *forced.* Aziraphale truly believes he can change the system. He needs Crowley. But the only thing he wants more than being with Crowley *right now* is the chance to be with him indefinitely in a world where they are free to love one another without fear.

The entire scene is shot in such a way that when Aziraphale is alone on screen, he occupies only half of the frame. He is only one part of a whole, and the loss of Crowley (for the time being) is palpable. Out in the street, the shot of Crowley is framed in a similar way, though reversed.

I still feel ways(TM) about Aziraphale’s decisions at the end of E6, but this little moment of “I—I think I…” is proof he considered backing out, and almost, *almost* went through with it. He could have rushed to Crowley, could have run away with him to the South Downs or to Alpha Centauri, but the system would stay broken, and any peace they would’ve had would only be borrowed. He wants to give Crowley the real thing—all of his love, all of the future, unfettered by the constant threat of a corrupt Heaven.

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He loves his kids❤️❤️❤️

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Bildad the Shuhite is workin' 9 to 5!

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We don't need Heaven, we don't need Hell, they're toxic. We need to get away from them, just be an us. You and me, what do you say?

GOOD OMENS - 2.06 Every Day

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I find it extremely funny that the entire Good Omens fandom is absolutely in love with Bildad the Shuhite for seemingly no reason. Can one of you please tell me why we love him so?

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One thing I love about Crowley --never stated, but consistently shown-- is that he is, at heart, an engineer.

I have a few different things to say about that. Let's unpack them.

As the Unnamed Angel, we see his designs for the Pillars of Creation are millions of pages long, comprised of cramped text, footnotes, diagrams, schematics etc. It's very...Renaissance polymath, in the way it implies a particular intersection between artist and inventor.

Also: in the naked romanticism with which he views his stars.

We already knew he made stars, but in s2 we learn that he did NOT sculpt them one-at-a-time. He designed a nebula ("a star factory," he says) that will form several thousand young stars and proto-planets, and all --beyond getting the 'factory' running-- without him lifting a finger. We also learn that these young stars and proto-planets stand in contrast to those made by other angels, which are going to come 'pre-aged.'

...I'm reminded of Hastur and Ligur's approach to temptations. Damning one human soul at a time, devoting singular attention to it over the course of years or decades, and how that stands in contrast to Crowley's reliance on, quote, 'knock-on effects.'

Ligur: It's not exactly...craftsmanship. Crowley: Head office don't seem to mind. They love me down there.

Hm.

I'm also reminded of the M25.

The M25 may not be as grand as a nebula (sentences you only say in GOmens fandom...), but LIKE his nebula it's an intricate, self-sustaining engine that does Crowley's work for him, many times over. Again.

That's some pretty neat characterization --and so is the indication of Crowley's disinterest in victimizing anyone tempting individual people. It takes a considerable amount of planning and effort (and creeping about in wellies), but in accordance with his design the M25 generates a constant stream of low-grade evil on a gigantic scale.

Cumulatively gigantic, that is. Individually? Negligible.

But no other demon understands human nature well enough to parse that one million ticked-off motorists are not, in any meaningful way, actually equivalent to one dictator, or one mass-murderer, or even one little influential regressive. That's the trick of it. Crowley gets Hell's approval (which he NEEDS to survive, and to maintain the degree of freedom he's eked out for himself while surviving), and at the same time ensures that any actual ~Evil influence~ is spread nice and thin.

It's some clever machinery. And he knows it, too:

The Unnamed Angel and Crowley are both proud of their ideas.

(musings on professional pride, Leonardo da Vinci, the crank handle, and 'the point to which Crowley loves Aziraphale' under the cut)

In the 1970's Crowley gives a presentation on the M25, projector and all, to a room full of increasingly impatient demons. Maybe the presentation was work-ordered; the 'can I hear a WAHOO?' definitely wasn't.

Before the Beginning, the Unnamed Angel can barely contain his excitement about his nebula. Aziraphale manages a baffled-but-polite, "....That's nice...! :)"

11 years ago, Hastur and Ligur want to 'tell the deeds of the day,' and Crowley smiles to himself because (according to the script-book) he knows he has 'the best one.'

(Naturally, his 'deed' has nothing to do with tempting anybody, and everything to do with setting up a human-powered Rube-Goldberg machine of petty annoyance. Oodles of 'Evil' generated; very little harm done.)

They don't get it, of course. That's also consistent.

Nobody ever knows what the hell he's talking about.

It didn't make it on-screen, but, in both the novel AND the script-book, Crowley was friends with Leonardo da Vinci. The quintessential Renaissance polymath. That's where he got his drawing of the Mona Lisa --they're getting very drunk together, and Crowley picks up the 'most beautiful' of the preliminary sketches. He wants to buy it. Leonardo agrees almost off-the-cuff, very casual, because they're friends, and because he has bigger fish to fry than haggling over a doodle:

He goes, "Now, explain this helicopter thingie again, will you?" Because he's an engineer, too.

(It is 1519 at the latest, in this scene. Why the FUCK would Crowley know about helicopters, and be able to explain them, comprehensively, to Leonardo da Vinci?

...Well. I choose to believe he got bored one day and worked it out. Look, if you know how to build a nebula, you can probably handle aerodynamics. And anyway, I think it's telling that this is his idea of shooting the shit. 'A drunken mind speaks a sober heart,' and all. He probably babbled about Aziraphale enough to make poor Leo sick)

Leonardo da Vinci is the only person Crowley has any keepsakes or mementos of, apart from Aziraphale.

Think about that, though. Aziraphale's bookshop is bursting with letters, paintings, busts, and personalized signatures memorializing all the humans he's known and befriended over 6000 years (indeed: Aziraphale has living human friends up and down Whickber Street. He's part of a community).

Crowley doesn't have any of that. It's just the stone albatross from the Church (for pining), the infamous gay sex statue (for spicy pining), the houseplants (for roleplaying his deepest trauma over and over, as one does), and this one piece of artwork, inscribed, "To my friend Anthony from your friend Leo da V."

To me, at least, that suggests a level of attachment that seems to be rare for Crowley.

...Maybe he liked having someone to talk shop with? Someone who was interested? Someone engaged enough to ask questions when they didn't immediately understand?

...Anyway.

There's also the matter of the crank handle.

This thing:

This is one of the subtler changes from the book. In the book, Crowley knows Satan is coming and, desperate, arms himself with a tire iron. It's the best he can do. He's not Aziraphale; he wasn't made to wield a flaming sword.

The show, IMO, improves on this considerably. Now he, like Aziraphale, gets to face annihilation with what he was made for in his hand. And it's not a weapon, not even an improvised one like the tire iron.

He made stars with it.

[both gifs by @fuckyeahgoodomens]

If you Google 'crank handle,' you'll get variations on this:

Crank handles have been around for centuries. Consisting of a mechanical arm that's connected to a perpendicular rotating shaft, they are designed to convert circular motion into rotary or reciprocating motion.

Which is to say they're one of the 'simple machines,' like a lever or a pulley; the bread and butter of engineering. You'll also get a list of uses for a crank handle, archaic and modern. Among them, cranking up the engine of an old-fashioned car... say, a 1933 Bentley. That's what Crowley has been using his for, lately. But he's had it since he was an angel and he's still, it seems, very capable of it's angelic applications.

I know everyone has already said this, but: I REALLY LIKE that when he needs to channel the heights of his power, he does so not with a weapon but with a tool. Practically with a little handheld metaphor for ingenuity, actually. One from long-lost days when he could make beautiful things.

(And he loved it. Still loves it, I'd say --he incorporated it into the Bentley, didn't he?)

Let Aziraphale rock up to the apocalypse with a weapon: he has his own compelling thematic reasons to do exactly that. Crowley's story is different, and fighting isn't the only way to express defiance. And if you've been condemned as a demon and assumed to be destructive by your very nature, what better way than this?

He made stars. They didn't manage to take that from him.

Neither Crowley nor Aziraphale are fighters, really --they have no intention of fighting in any war. They'll annoy everyone until there's no war to fight in, for a start. But between the two, if one must be, then that one is Aziraphale. Principality of the Earth, Guardian of the Eastern Gate, Wielder of the Flaming Sword... all that stuff. Even if he'd prefer not to, it's very clear that Aziraphale can rise to the occasion, if he must.

Crowley was not that kind of angel. He wasn't a Principality. He has no sword.

...And yet.

It's Crowley who protects. He's the one who paces, who stands guard, who circles Aziraphale and glares out at the world, just daring anyone else to come near.

In light of everything else I've said here, I think that's interesting.

Obviously part of it is that Aziraphale enjoys it and, you know, good for him. He's living his best life, no doubt no doubt. But what about Crowley? What's driving that behavior, really?

Have you heard the phrase, 'loved to the point of invention'? Well, what if 'the point of invention' was where you started? What if where you end up involves glaring out at the world, just daring anyone else to come near? What is that, in relation to the bright-eyed thing you used to be?

What do we name the point to which Crowley loves Aziraphale?

...Thinking about how an excitable angel with three million pages of star design he wants to tell you all about...becomes a guard dog. Is all.

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gonna post my old good omens fanart here bc i miss them

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since good omens is trending have a newer version of my sketch animation

it’s still very much not finished because a new semester started and my biology class is taking up all my time

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this kills me. crowley had to stop and look away from aziraphale. his voice was nearly failing him, he kept taking deep shaking breaths. he completely laid himself bare. and then.

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“How’s your naked man friend?”

I finished watching season two of Good Omens yesterday and I’m completely destroyed….. please let there be a season 3