misstallulah

[misstallulah]

"𝐴𝑓𝑡𝑒𝑟 𝑡ℎ𝑜𝑢𝑠𝑎𝑛𝑑𝑠 𝑜𝑓 𝑦𝑒𝑎𝑟𝑠 𝑜𝑓 𝑏𝑎𝑐𝑘 𝑎𝑛𝑑 𝑓𝑜𝑟𝑡ℎ, 𝑡ℎ𝑒𝑦’𝑣𝑒 𝑓𝑖𝑛𝑎𝑙𝑙𝑦 𝑚𝑎𝑑𝑒 𝑢𝑝 𝑡ℎ𝑒𝑖𝑟 𝑚𝑖𝑛𝑑𝑠."

[misstallulah]

"𝑻𝒉𝒂𝒕 𝒕𝒊𝒆 𝒂𝒊𝒏’𝒕 𝒋𝒖𝒔𝒕 𝒔𝒐𝒎𝒆 𝒄𝒍𝒐𝒕𝒉 — 𝒊𝒕’𝒔 𝒉𝒊𝒔 𝒕𝒐𝒐𝒍 𝒕𝒐 𝒈𝒓𝒊𝒑 𝒕𝒊𝒈𝒉𝒕, 𝒄𝒂𝒍𝒍 𝒕𝒉𝒆 𝒔𝒉𝒐𝒕𝒔, 𝒂𝒏𝒅 𝒕𝒖𝒓𝒏 𝒆𝒗𝒆𝒓𝒚 𝒃𝒊𝒏𝒅 𝒊𝒏𝒕𝒐 𝒂 𝒘𝒊𝒍𝒅 𝒈𝒂𝒎𝒆 𝒐𝒇 𝒑𝒐𝒘𝒆𝒓 𝒂𝒏𝒅 𝒑𝒂𝒔𝒔𝒊𝒐𝒏 𝒕𝒉𝒂𝒕 𝒏𝒆𝒗𝒆𝒓 𝒒𝒖𝒊𝒕𝒔."

⸻⸻⸻⸻⸻⸻⸻⸻

This fan art’s totally inspired by my latest fanfic Until You Blaze.

[misstallulah]

"𝑇ℎ𝑎𝑡 𝑡𝑖𝑡𝑙𝑒’𝑠 𝑏𝑢𝑟𝑛𝑖𝑛’ 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑡ℎ𝑒𝑚 𝑙𝑖𝑘𝑒 𝑠𝑜𝑚𝑒 𝑓𝑜𝑟𝑏𝑖𝑑𝑑𝑒𝑛 𝑓𝑖𝑟𝑒, 𝑎 𝑓𝑙𝑎𝑚𝑒 𝑡ℎ𝑎𝑡’𝑠 𝑒𝑎𝑡𝑖𝑛’ 𝑢𝑝 𝑙𝑜𝑣𝑒 𝑎𝑛𝑑 ℎ𝑢𝑠𝑡𝑙𝑒 𝑎𝑙𝑙 𝑎𝑡 𝑜𝑛𝑐𝑒. 𝑊ℎ𝑜𝑒𝑣𝑒𝑟’𝑠 𝑔𝑜𝑡𝑡𝑎 𝑓𝑖𝑔ℎ𝑡 𝑓𝑜𝑟 𝑖𝑡, 𝑏𝑒𝑡𝑡𝑒𝑟 𝑑𝑜 𝑖𝑡 𝑤𝑖𝑡ℎ 𝑡ℎ𝑒 𝑠𝑎𝑚𝑒 𝑓𝑖𝑒𝑟𝑐𝑒 𝑝𝑎𝑠𝑠𝑖𝑜𝑛 𝑡ℎ𝑒𝑦 𝑔𝑜𝑡 𝑓𝑜𝑟 𝑒𝑎𝑐ℎ 𝑜𝑡ℎ𝑒𝑟."

⸻⸻⸻⸻⸻⸻⸻⸻

Check out the full image at the link below to see every detail:

FULL IMAGE

[misstallulah]

"𝑈𝑛𝑑𝑒𝑟 𝑅𝑎'𝑠 𝑏𝑙𝑎𝑧𝑖𝑛' 𝑔𝑎𝑧𝑒, 𝑡ℎ𝑒 𝑝ℎ𝑎𝑟𝑎𝑜ℎ 𝑎𝑛𝑑 ℎ𝑖𝑠 𝑊ℎ𝑖𝑡𝑒 𝑆ℎ𝑎𝑑𝑜𝑤 𝑣𝑖𝑏𝑒 𝑟𝑒𝑤𝑟𝑜𝑡𝑒 𝑓𝑎𝑡𝑒 𝑤𝑖𝑡ℎ ℎ𝑒𝑎𝑟𝑡-𝑠𝑝𝑢𝑛 𝑤𝑜𝑟𝑑𝑠, 𝑤ℎ𝑒𝑟𝑒 𝑒𝑣𝑒𝑛 𝑡ℎ𝑒 𝑔𝑜𝑑𝑠 𝑏𝑜𝑤 𝑑𝑜𝑤𝑛 𝑡𝑜 𝑡ℎ𝑒 𝑑𝑜𝑝𝑒 𝑓𝑙𝑜𝑤 𝑜𝑓 𝑙𝑜𝑣𝑒."

⸻⸻⸻⸻⸻⸻⸻⸻

This fan art’s totally inspired by my latest fanfic Golden Light Over Egypt.

[misstallulah]

"𝑂ℎ 𝐶𝑟𝑜𝑤𝑙𝑒𝑦… 𝑛𝑜𝑡ℎ𝑖𝑛𝑔 𝑙𝑎𝑠𝑡𝑠 𝑓𝑜𝑟𝑒𝑣𝑒𝑟, 𝑛𝑜𝑡 𝑒𝑣𝑒𝑛 𝑤ℎ𝑎𝑡 𝑤𝑒 ℎ𝑜𝑝𝑒𝑑 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 𝑒𝑡𝑒𝑟𝑛𝑎𝑙."

[misstallulah]

Hello everyone!

I just wanted to let you know that I’ve finished a new illustration—something very special to me—and I’ve shared it both on Bluesky and X! It’s a fanart of Crowley and Aziraphale in an intimate moment, drawn to celebrate the release of the final chapter of my fanfiction Shadows of an Eternal Bond.

This piece is definitely 18+, so please keep that in mind before heading over. I usually share a little teaser or a cropped preview here on Tumblr, but this time it’s just a bit too spicy—even edited down—to sneak past the filters. Tumblr wasn’t having it!

If you're curious (and of age!), you can find it on the platforms mentioned above. I poured my heart into this one—it’s emotional, intimate, and yes, a little steamy.

Thank you, as always, for supporting my art and stories. I’d truly love to hear your thoughts—your feedback means the world to me.

🖤 With love!

𝙿.𝚂. 𝙼𝚘𝚘𝚍 ’𝚌𝚊𝚞𝚜𝚎 𝙸 𝚌𝚊𝚗’𝚝 𝚍𝚛𝚘𝚙 𝚝𝚑𝚎 𝚏𝚊𝚗𝚊𝚛𝚝 𝚑𝚎𝚛𝚎: 𝚃𝚞𝚖𝚋𝚕𝚛 𝚠𝚊𝚜 𝚕𝚒𝚔𝚎, “𝚗𝚊𝚑, 𝚝𝚘𝚘 𝚜𝚙𝚒𝚌𝚢!”

[misstallulah]

𝟹𝟻 𝑦𝑒𝑎𝑟𝑠 𝑜𝑓 𝐺𝑜𝑜𝑑 𝑂𝑚𝑒𝑛𝑠, 𝑎 𝑙𝑜𝑣𝑒 𝑡ℎ𝑎𝑡 𝑔𝑟𝑜𝑤𝑠 𝑞𝑢𝑖𝑒𝑡𝑙𝑦, 𝑏𝑢𝑡 𝑖𝑛 𝑒𝑣𝑒𝑟𝑦 𝑠𝑚𝑖𝑙𝑒 𝑜𝑓 𝐴𝑧𝑖𝑟𝑎𝑝ℎ𝑎𝑙𝑒 𝑎𝑛𝑑 𝐶𝑟𝑜𝑤𝑙𝑒𝑦, 𝑖𝑡 𝑡𝑒𝑙𝑙𝑠 𝑡ℎ𝑒 𝑠𝑡𝑜𝑟𝑦 𝑜𝑓 𝑎 𝑓𝑟𝑖𝑒𝑛𝑑𝑠ℎ𝑖𝑝 𝑡ℎ𝑎𝑡 𝑏𝑒𝑎𝑡𝑠 𝑡𝑖𝑚𝑒 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑤ℎ𝑜𝑙𝑒 𝑑𝑎𝑚𝑛 𝑢𝑛𝑖𝑣𝑒𝑟𝑠𝑒.

𝙿.𝚂. 𝚃𝚑𝚊𝚗𝚔𝚜 𝙶𝚘𝚘𝚍 𝙾𝚖𝚎𝚗𝚜 𝚏𝚘𝚛 𝚎𝚟𝚎𝚛𝚢𝚝𝚑𝚒𝚗𝚐 𝚢𝚘𝚞'𝚟𝚎 𝚐𝚒𝚟𝚎𝚗 𝚖𝚎, 𝚏𝚘𝚛 𝚎𝚟𝚎𝚛𝚢 𝚕𝚊𝚞𝚐𝚑, 𝚎𝚟𝚎𝚛𝚢 𝚖𝚘𝚖𝚎𝚗𝚝 𝚘𝚏 𝚜𝚠𝚎𝚎𝚝 𝚖𝚊𝚍𝚗𝚎𝚜𝚜, 𝚊𝚗𝚍 𝚏𝚘𝚛 𝚜𝚑𝚘𝚠𝚒𝚗𝚐 𝚖𝚎 𝚝𝚑𝚊𝚝 𝚜𝚘𝚖𝚎𝚝𝚒𝚖𝚎𝚜, 𝚎𝚟𝚎𝚗 𝚝𝚑𝚎 𝙰𝚙𝚘𝚌𝚊𝚕𝚢𝚙𝚜𝚎 𝚌𝚊𝚗 𝚋𝚎 𝚜𝚘𝚖𝚎𝚝𝚑𝚒𝚗𝚐 𝚋𝚎𝚊𝚞𝚝𝚒𝚏𝚞𝚕. 𝙰𝚗𝚍 𝚖𝚘𝚜𝚝 𝚘𝚏 𝚊𝚕𝚕, 𝚝𝚑𝚊𝚗𝚔𝚜 𝚏𝚘𝚛 𝚊𝚕𝚕 𝚝𝚑𝚎 𝚊𝚖𝚊𝚣𝚒𝚗𝚐 𝚙𝚎𝚘𝚙𝚕𝚎 𝙸'𝚟𝚎 𝚐𝚘𝚝𝚝𝚎𝚗 𝚝𝚘 𝚖𝚎𝚎𝚝 𝚋𝚎𝚌𝚊𝚞𝚜𝚎 𝚘𝚏 𝚢𝚘𝚞.

[misstallulah]

It's crazy… I wanted to celebrate the 35th anniversary of Good Omens with a FanArt, I was really excited to share my passion on social media, to spread the joy of this anniversary. But, unfortunately, as always, there are people who have to throw negativity, maybe out of envy. And under the comments, people can't hold back. Unfortunately, on the other side of the screen, you never know who you’re dealing with, and, as we know, things can turn ugly online— not everyone ignores it.

As artists, we need to support each other, as fans, we need to care for one another, communities should never be toxic spaces.

The comment I received on my fan art was that it was made with AI. And with the arrival of artificial intelligence, it’s hard to tell what’s what, there’s so much confusion. But personally, I don’t need to resort to that. I’ve studied for years, I’ve worked hard, I’ve made sacrifices, waking up at 5 AM every day for six years, to learn, to improve. I’ve explored various styles just to grow as an artist and reach more people.

But yesterday, after that comment, I hated everything. I hated everything I had done. I deleted the work, hours of drawing down the drain.

Then I thought about it: this isn’t right. I’m giving the victory to the haters, I’m giving the victory to AI. And if I feel hate, it means I’m hating what I love most: art. In the end, I’d be hating Good Omens too, the book and the series that have saved me more than once, and maybe it’s saving me again now.

So, this morning, I rolled up my sleeves, turned on my PC, grabbed the graphic tablet, and got back to work. And you know what? It went well, because I was able to make adjustments, improvements, and add that something extra that will make it special.

Now, I will share the drawing process, step by step, under this post. But I’m sure there will still be someone skeptical. But you know what? I don’t care. I don’t care who cheers for me or who is negative.

Let me know what you think. Should I finish the drawing? Should I color it and share it when it’s done? Because now I feel better about all this, but I’m not sure if it’s worth it.

Thank you all for the support!

[misstallulah]

The Kiss, the Apple, the Tree: Illumination and Temptation in Good Omens ⸻⸻⸻⸻⸻⸻⸻⸻

The kiss in Good Omens 2 between Aziraphale and Crowley is the emotional and symbolic climax of the series—a gesture that transcends romance to embody a profound theological and narrative tension. It is not merely an act of love, but a moment charged with symbolic, almost biblical weight. Laden with layered meaning, the kiss evokes not only the betrayal of Judas but also the possibility of redemption through love and vulnerability.

At the heart of the finale, this gesture resounds like thunder in the emotional silence of Aziraphale. In that instant, many viewers saw more than a confession of feeling: they saw the Apple from the Tree of Knowledge being offered once again. Crowley, like the serpent in Genesis, presents what is forbidden but enlightening. He is a Luciferian figure—not in the sense of evil, but as a conscious rebel against a rigid celestial order that demands blind obedience. In doing so, he offers Aziraphale not just affection, but awareness.

This interpretation has taken shape through countless posts, analyses, and reflections on social media. And the more one considers it, the more it seems inevitable: Crowley gave Aziraphale knowledge. And Aziraphale tasted that truth.

The kiss becomes an act of rupture—challenging both heavenly and hellish conventions, and affirming the freedom to choose humanity over divine institutions. Its ambiguity—passion, pain, sacrifice—mirrors the central conflict between duty and desire, rendering it the most powerful and transformative gesture of the series.

Now, I want to share my own analysis, especially because it’s been a while since I’ve created a post like this, and I’ve really missed it. I adore diving into deep subjects, and studying theology and connecting it with TV series is something that truly excites me. There’s something so captivating about exploring how these grand, timeless ideas play out in such modern contexts, and Good Omens is an incredible example of that fusion.

The Return of the Apple: Genesis and Revelation

In the book of Genesis, chapters 2 and 3, the biblical narrative tells that God forbids Adam and Eve from eating the fruit of the Tree of the Knowledge of Good and Evil, warning them: "In the day that you eat of it, you shall surely die" (Genesis 2:17). But the serpent, a symbolic figure of cunning and temptation, deceives Eve, promising her that they will not die, but that by eating the fruit, they will become like God, "knowing good and evil" (Genesis 3:5). The promise of divinity and awareness is irresistible. Eve, yielding to temptation, eats the fruit, and then offers it to Adam, and "the eyes of both of them were opened" (Genesis 3:7). The apple, though never explicitly mentioned in the biblical text, becomes the universal symbol of transgression and knowledge. In Latin, "malus" means both "apple" and "evil," creating a wordplay that links the fruit to the concept of sin and forbidden knowledge.

The fruit does not bring immediate death, but awareness, the ability to discern between good and evil. Eve and Adam lose their innocence but gain a new form of understanding. The apple thus becomes a symbol of rebellion, but also of revelation, a decision that pushes humanity out of innocence into the darkness of awareness. "The eyes of both of them were opened" (Genesis 3:7), but this opening is never without pain. The truth they discover is harsh and complex, and their choice marks the separation between what was and what will be.

In the finale of Good Omens 2, the act of Crowley, once an angel, picks up the same symbolism. When he kisses Aziraphale, the gesture is not just a declaration of love but an offering of knowledge, much like the apple was in the Garden of Eden. Crowley does not tempt Aziraphale to disobey, as the serpent did with Eve; rather, he invites him to see the world with new eyes, to recognize that truth is never absolute, but made up of nuances. When their lips meet, Aziraphale receives the awareness that Eve and Adam had acquired in the garden: a vision of the world that is not black or white, but a constant negotiation between good and evil, between right and wrong. The apple, therefore, becomes the symbol of a new understanding, of a conscious choice that leads to revelation.

The apple, in this sense, is not just a forbidden fruit but a symbol of evolution. It is the key to understanding morality, not as a rigid and immutable concept, but as a fluid, interconnected, and nuanced reality. Just as Eve and Adam, the moment they eat the fruit, cannot go back, so Crowley and Aziraphale, embracing this awareness, are no longer the same. The apple represents the passage from simplicity to the darkness of knowledge, a knowledge that changes, that is never simple but always complex and full of meanings, just like morality itself, which never divides clearly between good and evil. "You will not surely die... you will be like God" (Genesis 3:5) ��� the truth is that once knowledge is acquired, we can no longer ignore it. And like Eve, like Crowley, like Aziraphale, we are condemned to live with our eyes open to reality, with all the weight and beauty that it entails.

Aziraphale as Eve: The Enlightenment of an Angel

In the Gospel of Matthew (16:26), we read: "What good will it be for someone to gain the whole world, yet forfeit their soul?" It is a question that strikes at the very heart of the human conflict: the cost of loyalty, truth, and compromise. Aziraphale, always faithful to Heaven, is an angel who has lived for millennia adhering to the celestial order with devotion and discipline. His identity has been forged in a clear distinction between good and evil, within a universe structured according to divine design. Yet Crowley’s kiss — as human as it is cosmic — breaks the seal of his innocence. It is not merely an act of love, but an inner apocalypse, a revelation that shatters the Manichaean dichotomy in which he has lived. Just as Eve, tasting the fruit of the forbidden tree, came to see the world with different eyes, Aziraphale in that moment is pushed beyond the boundary of blind faith.

"Then the eyes of both of them were opened" (Genesis 3:7) is the verse that describes Adam and Eve’s awakening, but it could just as well describe the angel’s state of mind after that gesture. He is no longer the pure and obedient messenger he believed himself to be; he has become a witness to a world too complex to be framed in rigid categories. Grace and fall coexist, and wings — even white ones — get dirty in the attempt to act in the real world. Heaven is no longer the pristine place he once revered, just as Hell is not merely a receptacle of evil. The celestial institutions have become structures, and structures — as even St. Paul says — can become corrupt: “The letter kills, but the Spirit gives life” (2 Corinthians 3:6). Aziraphale has understood that, no matter how much Heaven claims to stand for good, it can also become its blind executor.

And yet, despite this revelation, Aziraphale chooses to go. His loyalty is no longer that of the obedient angel, but of the prophet. Like Moses, who ascends the mountain knowing he will never enter the Promised Land, Aziraphale steps into the celestial chariot with a new awareness: he has seen, he has understood, and yet he chooses to remain within the system — perhaps to change it, perhaps to save what can still be saved. Like Eve, he can no longer pretend not to know. His choice is no longer based on ignorance, but on hope and will. It is the weight of freedom — the same freedom God gave humanity the moment He allowed the tree of knowledge to grow in the middle of the garden.

The Bible is filled with figures who, like Aziraphale, are forced to choose between truth and loyalty. Peter, who denies Christ out of fear, then weeps bitterly (Luke 22:62); Job, who suffers under an incomprehensible divine justice but never stops questioning God; Jonah, who flees his mission rather than accept God’s mercy toward his enemies. Aziraphale does not run. His choice is a return — not to blind obedience, but to a more mature, more painful faith. As St. Paul writes, “When I was a child, I spoke like a child... but when I became a man, I put away childish things” (1 Corinthians 13:11). Aziraphale is no longer a childlike angel: he has become a conscious being, one who has chosen to face the celestial powers with open eyes, even if it means parting from the one he loves.

Crowley has shown him the world, and Aziraphale has chosen not to look away. Like Eve, he has eaten the fruit, and like every being who knows, he now bears the weight of that choice. The act of leaving is not a betrayal, but a silent martyrdom. It is the awareness that Heaven and Hell, as they are, are not enough. And that perhaps only those who have loved, suffered, and seen with human eyes — like Christ on the cross, who cried out, “My God, why have you forsaken me?” (Matthew 27:46) — can truly understand what good means. Aziraphale has stopped believing out of obedience. Now, he believes by choice.

Why Aziraphale Will Return — And in Disguise

It is in the Gospel of John (14:6) that we find one of the most radical and luminous affirmations of the Christian faith: “I am the way, the truth, and the life. No one comes to the Father except through me.” These words, spoken by Jesus, are not merely a theological declaration, but an existential calling: knowing the truth is not enough — one must walk its path. Truth is something to be discovered, yes, but also something to be lived, embodied, and suffered. In the instant Aziraphale receives Crowley’s kiss — his apple, his personal apocalypse — he sees the truth. He sees what Heaven refused to show him: that good and evil are not simple categories, but tensions, wounds, compromises — acts of love and doubt interwoven.

That truth transforms him. He is no longer the angel who watched the world from above, dispensing miracles and justice as if they were mathematical equations. He is an angel who has tasted human fragility, who now carries the weight of awareness on his shoulders. “You will know the truth, and the truth will set you free” (John 8:32) — but freedom often comes at the price of solitude. Aziraphale is now free, but he has lost the shelter of certainty. And for this very reason, he must find the way.

His return to Earth will be inevitable, because truth cannot remain disembodied. Just as the Word “became flesh and dwelt among us” (John 1:14), Aziraphale too must become part of the world again — return among humans, where good and evil blur, where love is never simple and choices are always ambiguous. But he will not return as he once was. He will return in disguise, perhaps playing the role of the angel he has always been, like Christ who, “though being in the form of God, did not regard equality with God as something to be grasped, but emptied himself, taking the form of a servant” (Philippians 2:6-7). Pretending not to know will not be a lie, but strategy, compassion, a test. It will be his way of discovering whether Crowley is still willing to wait, to fight beside him, to hope. He does not yet fully trust his own heart — and yet, he can no longer ignore it.

In Aziraphale, the inner struggle between obedience and love has taken a new shape: no longer a dichotomy, but a living tension, like that of Jacob wrestling with God through the night and receiving the name Israel — “he who wrestles with God and prevails” (Genesis 32:28). Aziraphale too has wrestled with God — or rather, with his idea of God — and though his faith is wounded, it is more authentic. His vulnerability is no longer a weakness, but a strength: “My power is made perfect in weakness” (2 Corinthians 12:9). With this new awareness, Aziraphale prepares to reenter the world — not as a judge, but as a bridge. Not as a messenger of certainties, but as a seeker of the way.

And Crowley? He chose the truth long ago. He gave up Heaven rather than lie to himself. Now it is Aziraphale’s turn to walk toward him — not to deny what was, but to build something new. Perhaps the kingdom of Heaven is not above, but in the space between two hands reaching for each other. And the way — the way Christ pointed to — is never linear. It is made of uncertain steps, of returns, of silences. But it is there, in that tension between fear and love, between wound and longing, that Aziraphale will find his renewed mission. Not as a mere angel of Heaven, but as a conscious, awakened being — capable of loving with all his mind, all his heart, and all his soul (Matthew 22:37), just as was asked from the very beginning.

"We Made a Decision" — The Tree, the Mug, the Carved Heart

A seemingly simple, almost marginal detail takes on profound meaning for those who look closely: a commemorative mug created at the end of filming Good Omens 3. On its glazed surface, an image: a majestic tree, its roots stretching like veins through the earth, and carved into the trunk, two hearts. Inside each, two letters: AZ and CR. Beneath it, a weighty, cryptic phrase: “We made a decision.”

The scene it evokes is silent, yet eloquent. The tree is not just any tree. It is the Tree of the Knowledge of Good and Evil, the one that stood at the center of the Garden of Eden, according to the Genesis account. It is beneath that very tree that, in Season One, Crowley and Aziraphale meet for the first time, witnesses to humanity’s expulsion — observers of a rebellion that, in some way, will mark them forever. It is there that Aziraphale offers Crowley an umbrella. It is there that their bond begins — not in Heaven, not in Hell, but in the midst of the Fall.

“But the serpent said to the woman, ‘You will not surely die. For God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil.’” (Genesis 3:4–5)

Everything begins under that tree: knowledge, free will, the capacity to choose. And for them too, that scene marks the beginning of a transformation. They are no longer merely an angel and a demon. They are two conscious beings — who think, feel, and choose.

The mug, then, is not just a collectible item. It is a narrative symbol, almost a liturgical artifact of the story. The initials carved into the hearts — AZ for Aziraphale, CR for Crowley — recall that deeply human, ancient, almost adolescent gesture of etching one’s names into a tree to seal a bond hoped to be eternal. And yet here, the act carries sacred weight. It is not just love — it is covenant. It is a declaration of intent, as one might make in a ritual, or upon an altar.

“Two are better than one, because they have a good reward for their labor. For if they fall, one will lift up the other. But woe to the one who is alone when they fall and has no one to lift them up.” (Ecclesiastes 4:9–10)

The phrase etched beneath the tree — “We made a decision” — is neither random nor neutral. It is performative. This is not a decision — it is the decision. The kind that alters everything, that breaks the cycle, that leaves no easy way back.

But what is this decision?

Perhaps it is the decision to remain in the world — to belong no longer to Heaven or Hell, but only to each other. Perhaps it is the decision to stop hiding what they feel. Perhaps it is the decision to part ways, for a greater good. Or perhaps, it is the choice to fight side by side against the forces that would see them torn apart.

Like Adam and Eve, Crowley and Aziraphale have been cast out of a safe place — but they are not lost. On the contrary, they have chosen. And in that choice lies their true divinity.

“You did not choose me, but I chose you and appointed you so that you might go and bear fruit.” (John 15:16)

The mug, then, is not mere merchandise — it is a gift to the tropes. A small domestic altar to the story that thousands of viewers have lived and interpreted. It is also a promise — that something has been decided, that everything is ready, and that when we see them again, nothing will be the same.

So then... what is the decision?

The Second Coming and the End

In the biblical context, the Second Coming is one of the most emblematic events in Christian prophecy — a triumphant return of Christ that marks the end of time, the final judgment, and the beginning of a new era. It is the moment when the world will face salvation or damnation, but more importantly, the moment when everything that has been hidden will emerge into the light. The Second Coming, as described in the Gospels, will be an act of power, but also of separation: “When the Son of Man comes in his glory, and all the angels with him, he will sit on his glorious throne, and all the nations will be gathered before him...” (Matthew 25:31-32). Humanity, in the face of the final judgment, will have to reckon with its actions.

However, in the context of Good Omens 3, the Second Coming takes on a meaning that transcends the traditional conception. It is no longer an event that signifies the end of the world, but rather a moment when the forces of Heaven and Hell clash once again, seeking to drive the world towards a new apocalypse. The threat of the Second Coming is not just the return of a deity, but the escalation of a battle between opposing forces that has characterized the entire history of the world.

But at the heart of it all are two beings who have chosen to stand neither on one side nor the other: Crowley and Aziraphale. They are neither angels nor demons, but something different — a middle ground. Just like Eve and Adam, who ate the fruit from the Tree of Knowledge, Crowley and Aziraphale have made a choice that makes them free, but at the same time vulnerable. The apple is no longer a symbol of the fall, but of awareness. Like Adam and Eve, they too have gained new knowledge — a consciousness that separates them from their creators but also makes them free to decide. And that freedom is both a gift and a curse.

“Then the Lord God said to the woman, ‘What is this you have done?’ And the woman said, ‘The serpent deceived me, and I ate.’” (Genesis 3:13). But in this case, the serpent is no longer just a deceiver, but also a liberator. Crowley, who in traditional biblical readings might be seen as the tempter, reveals himself to be the embodiment of freedom, the act of choosing — just as the serpent did with Eve. Aziraphale, on the other hand, though an angel, does not simply follow divine will, but chooses to ally himself with Crowley, choosing love and freedom over blind obedience. And through this bond, a new alliance is born — one that does not belong to the divine order or the infernal one.

In a sense, Good Omens 3 reaches a crucial point: the end of the cycle of cosmic wars and the birth of a new reality. Crowley and Aziraphale will not only save the world once again, but they will do something more radical: they will save humanity from its dependence on a universal order that forces it to choose between good and evil. They themselves are the result of a rebellion that has created a new form of consciousness, one that goes beyond the duality of heaven and hell, right and wrong.

Take, for example, the final scene of the first season, when Adam, the little Antichrist, eats the apple — a symbolic act that echoes Eve’s gesture in the Garden of Eden. Adam chooses his freedom, much like Crowley and Aziraphale have done throughout the centuries. The difference, however, is that Adam is not condemned by his act, but liberated. “You will be like God, knowing good and evil,” as the serpent tells Eve. In Adam’s case, his choice does not bring destruction but a new possibility. Freedom, in this case, is not the cause of the fall, but the means for rebirth. And in the same way, Crowley and Aziraphale have chosen to protect the world from a predestined end, choosing not only to love each other, but also to choose the future — the one that is not already written in any sacred book, the one that must still be written by human freedom.

And so, their journey will come to an end. Good Omens 3 will mark the conclusion of a story that has spanned centuries, millennia, but is now heading toward its closure. It will not be an ending that appeals to the final judgment, but a conclusion that transcends the very concept of judgment. Crowley and Aziraphale, after saving the world yet again, will make a definitive choice: not only to no longer be mere pawns in a cosmic war but to become the creators of a new reality, one that does not rely on the divisions of good and evil, but that is based on freedom, love, and awareness.

“For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life.” (John 3:16). In their case, the "Son" might be humanity itself, which has the opportunity to live not under a predetermined fate, but under the sign of a new awareness — the one Crowley and Aziraphale have forged in the fire of rebellion, love, and choice.

Their conclusion, then, is not an ending of the "final judgment" kind, but a true rebirth, where, finally, humanity will have its fate in its own hands. And for them, this will be the end. They will no longer save the world. This is their farewell to the cosmic struggle. Their journey is over. From now on, the world will be in the hands of humankind.

Conclusion: The Choice of Freedom and the End of a Cycle

In conclusion, Good Omens is much more than a supernatural comedy. It is a parable about love, free will, and the awareness that arises from rebellion. It’s not just about angels and demons, but about two beings who, choosing not to belong to either side, show us how every choice has weight and how love can become the only true force for change.

Good Omens 3 will not just be the end of a cycle, but the beginning of a new creation, or perhaps a new destruction. The fate of humanity, free from divine or infernal determinism, will be in the hands of those who know how to choose. The end of the war between good and evil will not mark defeat, but the end of one chapter to give birth to an entirely new one.

The words of Michael Sheen, who promised that the finale will satisfy the fans, give us hope. It will not just be a closure, but a conclusion that will leave us with new questions. Will Crowley and Aziraphale manage to build a world where there are no more wars? Will the freedom they have chosen lead them to rebirth or to final destruction?

The freedom to choose is the true power they possess, and this finale invites us to reflect on how each of us has the power to write our own story, even in a world that seems already decided. Hope and change are what we can expect, because, in the end, even if the Apocalypse seems to be approaching, maybe it’s never too late to start writing a new chapter.

[misstallulah]

"𝑂𝑛 𝑎 𝑛𝑖𝑔ℎ𝑡 𝑜𝑓 𝑠𝑖𝑙𝑒𝑛𝑡 𝑠𝑡𝑎𝑟𝑠, 𝑎 𝑝𝑟𝑒𝑑𝑎𝑡𝑜𝑟 𝑠𝑛𝑒𝑎𝑘𝑠 𝑢𝑝 𝑜𝑛 𝑎 𝑙𝑜𝑠𝑡 ℎ𝑒𝑟𝑜, 𝑤𝑟𝑎𝑝𝑝𝑖𝑛𝑔 ℎ𝑖𝑚 𝑖𝑛 ℎ𝑒𝑟 𝑞𝑢𝑖𝑒𝑡 𝑝𝑟𝑒𝑠𝑒𝑛𝑐𝑒. 𝑊ℎ𝑖𝑙𝑒 𝑡ℎ𝑒 𝑤𝑜𝑟𝑙𝑑 𝑖𝑔𝑛𝑜𝑟𝑒𝑠 ℎ𝑖𝑠 𝑝𝑎𝑖𝑛, ℎ𝑒 𝑤ℎ𝑖𝑠𝑝𝑒𝑟𝑠 𝑡ℎ𝑎𝑡 𝑒𝑣𝑒𝑛 𝑏𝑟𝑜𝑘𝑒𝑛 𝑑𝑟𝑒𝑎𝑚𝑠 𝑑𝑜𝑛’𝑡 𝑓𝑎𝑑𝑒, 𝑡ℎ𝑒𝑦 𝑡𝑢𝑟𝑛 𝑖𝑛𝑡𝑜 𝑎 𝑛𝑒𝑤 𝑝𝑎𝑡ℎ."

⸻⸻⸻⸻⸻⸻⸻⸻

Check out the full image at the link below to see every detail:

FULL IMAGE

[misstallulah]

After a mad long break, I’m back with a new Good Omens fic! "Shadows of an Eternal Bond" is live! Drop a feedback, it means everything! New chapters every Saturday! Chapter 1’s up!

For those who would like to read my fanfiction, you can find it at the following link: Fanfiction on AO3.

Alternatively, you can visit my AO3 profile and other works through my Linktree.

[misstallulah]

Bologna was dope for the WWE event, it was an unforgettable vibe that made the city even cooler. I miss all that!

[misstallulah]

"𝐼𝑛 𝑎 𝑠𝑖𝑙𝑒𝑛𝑐𝑒 𝑓𝑖𝑙𝑙𝑒𝑑 𝑤𝑖𝑡ℎ 𝑙𝑖𝑔ℎ𝑡 𝑎𝑛𝑑 𝑜𝑢𝑡𝑠𝑡𝑟𝑒𝑡𝑐ℎ𝑒𝑑 𝑤𝑖𝑛𝑔𝑠, 𝑠𝑜𝑢𝑙𝑠 𝑏𝑟𝑢𝑠ℎ 𝑎𝑔𝑎𝑖𝑛𝑠𝑡 𝑒𝑎𝑐ℎ 𝑜𝑡ℎ𝑒𝑟, 𝑠𝑜𝑢𝑙𝑠 𝑡ℎ𝑎𝑡 ℎ𝑎𝑣𝑒 𝑐𝑟𝑜𝑠𝑠𝑒𝑑 ℎ𝑒𝑙𝑙 𝑗𝑢𝑠𝑡 𝑡𝑜 𝑓𝑖𝑛𝑑 𝑜𝑛𝑒 𝑎𝑛𝑜𝑡ℎ𝑒𝑟."

⸻⸻⸻⸻⸻⸻⸻⸻

Check out the full image at the link below to see every detail:

FULL IMAGE

[misstallulah]

"𝑅𝑎𝑛𝑑𝑦 𝑒𝑦𝑒𝑠 𝐶𝑜𝑑𝑦 𝑙𝑖𝑘𝑒 𝑎 𝑏𝑒𝑎𝑠𝑡 𝑠𝑡𝑎𝑙𝑘𝑖𝑛𝑔 𝑖𝑡𝑠 𝑝𝑟𝑒𝑦—𝑡𝑜𝑢𝑐ℎ𝑖𝑛𝑔 𝑎𝑖𝑛’𝑡 𝑒𝑛𝑜𝑢𝑔ℎ, ℎ𝑒 𝑤𝑎𝑛𝑡𝑠 𝑡𝑜 𝑜𝑤𝑛 ℎ𝑖𝑚, 𝑏𝑟𝑒𝑎𝑘 ℎ𝑖𝑚, 𝑚𝑎𝑘𝑒 ℎ𝑖𝑚 ℎ𝑖𝑠."

⸻⸻⸻⸻⸻⸻⸻⸻

Check out the full image at the link below to see every detail:

FULL IMAGE

[misstallulah]

"𝑊ℎ𝑒𝑛 𝑎𝑛 𝑎𝑛𝑔𝑒𝑙 𝑔𝑒𝑡𝑠 𝑎 𝑡𝑎𝑠𝑡𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑓𝑜𝑟𝑏𝑖𝑑𝑑𝑒𝑛, 𝑡𝑒𝑚𝑝𝑡𝑎𝑡𝑖𝑜𝑛 𝑔𝑟𝑎𝑏𝑠 ℎ𝑜𝑙𝑑, 𝑔𝑟𝑒𝑒𝑑 𝑡𝑎𝑘𝑒𝑠 𝑜𝑣𝑒𝑟, 𝑎𝑛𝑑 𝑙𝑢𝑠𝑡 𝑠𝑒𝑎𝑙𝑠 𝑡ℎ𝑒 𝑑𝑒𝑎𝑙. 𝐴𝑛𝑑 𝑡ℎ𝑒𝑟𝑒’𝑠 𝑛𝑜 𝑔𝑜𝑖𝑛𝑔 𝑏𝑎𝑐𝑘."

⸻⸻⸻⸻⸻⸻⸻⸻

Check out the full image at the link below to see every detail:

🔞FULL IMAGE

[misstallulah]

"𝐺𝑜𝑜𝑑 𝑐ℎ𝑜𝑖𝑐𝑒, 𝑏𝑎𝑏𝑦. 𝑌𝑜𝑢𝑟 𝑠𝑜𝑢𝑙’𝑠 𝑚𝑖𝑛𝑒, 𝑙𝑜𝑐𝑘𝑒𝑑 𝑖𝑛 𝑙𝑖𝑘𝑒 𝑎 𝑣𝑖𝑝𝑒𝑟’𝑠 𝑏𝑖𝑡𝑒. 𝑌𝑜𝑢’𝑟𝑒 𝑎𝑙𝑙 𝑚𝑖𝑛𝑒, 𝑛𝑜𝑤 𝑎𝑛𝑑 𝑓𝑜𝑟𝑒𝑣𝑒𝑟, 𝑛𝑜 𝑞𝑢𝑒𝑠𝑡𝑖𝑜𝑛."

⸻⸻⸻⸻⸻⸻⸻⸻

Check out the full image at the link below to see every detail:

FULL IMAGE

[misstallulah]

"𝐼𝑛 𝑡ℎ𝑒 𝑒𝑛𝑑, 𝑡ℎ𝑒 𝑑𝑒𝑚𝑜𝑛 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑎𝑛𝑔𝑒𝑙 𝑓𝑜𝑢𝑛𝑑 𝑝𝑒𝑎𝑐𝑒. 𝑁𝑜 𝑏𝑙𝑎𝑐𝑘 𝑜𝑟 𝑤ℎ𝑖𝑡𝑒, 𝑗𝑢𝑠𝑡 𝑎 𝑑𝑎𝑛𝑐𝑒 𝑜𝑓 𝑐𝑜𝑙𝑜𝑟𝑠, 𝑠𝑜𝑓𝑡 𝑎𝑠 𝑎 𝑑𝑟𝑒𝑎𝑚. 𝐴𝑛𝑑 𝑖𝑛 𝑡ℎ𝑎𝑡 𝑞𝑢𝑖𝑒𝑡 𝑚𝑜𝑚𝑒𝑛𝑡, 𝑡ℎ𝑒𝑖𝑟 𝑙𝑜𝑣𝑒 𝑤𝑎𝑠 𝑠𝑒𝑎𝑙𝑒𝑑 𝑤𝑖𝑡ℎ 𝑎 𝑘𝑖𝑠𝑠."

𝙿.𝚂. 𝙸’𝚖 𝚑𝚘𝚙𝚒𝚗𝚐 𝚏𝚘𝚛 𝚊 𝚔𝚒𝚜𝚜—𝚗𝚘, 𝚜𝚌𝚛𝚊𝚝𝚌𝚑 𝚝𝚑𝚊𝚝, 𝚕𝚘𝚝𝚜 𝚘𝚏 𝚔𝚒𝚜𝚜𝚎𝚜. 𝙷𝚘𝚙𝚒𝚗𝚐 𝚝𝚑𝚎𝚢 𝚏𝚒𝚗𝚍 𝚝𝚑𝚎𝚒𝚛 𝚠𝚊𝚢 𝚋𝚊𝚌𝚔 𝚝𝚘 𝚎𝚊𝚌𝚑 𝚘𝚝𝚑𝚎𝚛, 𝚏𝚘𝚛 𝚙𝚎𝚊𝚌𝚎, 𝚏𝚘𝚛 𝚊 𝚏𝚒𝚗𝚊𝚕𝚎 𝚝𝚑𝚊𝚝 𝚏𝚒𝚝𝚜 𝚝𝚑𝚎𝚖. 𝙽𝚘𝚝 𝚜𝚘𝚖𝚎 𝚏𝚊𝚒𝚛𝚢𝚝𝚊𝚕𝚎 “𝚑𝚊𝚙𝚙𝚒𝚕𝚢 𝚎𝚟𝚎𝚛 𝚊𝚏𝚝𝚎𝚛,” 𝚋𝚞𝚝 𝚜𝚘𝚖𝚎𝚝𝚑𝚒𝚗𝚐 𝚛𝚎𝚊𝚕, 𝚜𝚘𝚖𝚎𝚝𝚑𝚒𝚗𝚐 𝚛𝚒𝚐𝚑𝚝—𝚜𝚘𝚖𝚎𝚝𝚑𝚒𝚗𝚐 𝚝𝚑𝚊𝚝 𝚑𝚒𝚝𝚜 𝚞𝚜 𝚜𝚝𝚛𝚊𝚒𝚐𝚑𝚝 𝚒𝚗 𝚝𝚑𝚎 𝚑𝚎𝚊𝚛𝚝.

⸻⸻⸻⸻⸻⸻⸻⸻

Check out the full image at the link below to see every detail:

FULL IMAGE