#I've always liked the aesthetic of Just a Normal Human interacting with a cute little creachur haha

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Some Good Omens Head Canons (because it's more meta and shippy shit. s/o to @v0litioncheck as usual cos when it comes to the shippier things, I don't know who struck the iron first.

— 6000 years of pining is cute and all and I guess Neil canonized it (as much as he ever will canonize anything) in season two, but idek idek idek, I think it's much more meaningful if they've been together. It even works in the first season and to a lesser degree, book (the question will always be if it was intended to imply a deeper intimacy between them and while I say yes, absolutely, idek, I think I'm a little biased). I'd even argue that it's some of the most normalized queer representation I've seen in recent memory. Because you know, we've seen stories with straight couples where it's just a given they're together and they're intimate in small ways aside from kissing. Touches, looks, the way they talk to each other, tones, pet names, inside jokes, familiarity, which you know, I think are much more organic building blocks to portraying a relationship than y'know kissing and sex scenes (not that I wouldn't have welcomed more explicit intimacy, but the point is that the quieter gestures paint a satisfying tapestry of two characters that are very much in love and have been together for a very long time. Perhaps this internal interpretation of their closeness is why season 2 didn't sit right with me in the end because I feel like it's trying to have it's cake (shippy, romantic fan service that could easily fall in line with the assumption that they're basically married) and eat it too (imply they're actually mutually pining for each other but incapable of communicating that desire which...idek man, that's a pretty hard pill to swallow with how goddamned old they are).

— Demons and angels have a distinctly nonlinear understanding of time and history. I think it's part of the joke of their anachronism in any given time period, but I also think it's serious meta due to an aside in the book about the gift of prophesy and how it interacts with humans. I think it was basically like they were tapping into something but it got scrambled up in their brains most the time. Honestly I think it's the same way for Crowley and Aziraphale, but they're more capable of dealing with it, but maybe not considering Aziraphale's distractable and slightly dotty and Crowley's not that much better. They're both very, very smart, with the wisdom of age on their side but also I mean, they're processing so much information at any given time.

— The reason Aziraphale hasn't fallen despite being in love with a demon, his own hedonistic tendencies, and lying to his boss(es) is because The Fall was a one time thing and part of the Great Plan. After all, you can't have good and evil without the language to express the concepts. God is omniscient but Her ineffability comes in Her silences over certain matters. Let them believe the war was about rebellion and not some cruel twist in testing and toying with her creations. (I also think it's why Az's punishment for conspiring against heaven was death instead of being cast out, although that could lend entirely to Gabriel's temperament than God's will.) Personally, I think God checked out some time after the whole Jesus situation, and is more comparable to an absent, low effort CEO that's taking meetings on Skype or Zoom every few month from their villa in Tahiti.

— So, the point of this impending ramble about supernatural creatures in a body capable of experiencing sensuality, is that I do believe Crowley and Aziraphale are horny for each other. They lust after each other. They fuuuuuuck. Is this natural for either of them? Not really, but I think there are layers to the idea that they've "gone native". It's not just that they drive fast, wear clothing, dress aesthetically, learn slang, learn technology, and eat food/get drunk. They convey emotions, they enjoy frivolities to their kind like sleeping and reading for pleasure. The feeling you get from their kin is that they're driven by purpose rather than any real personal motivation. I do think it took them time (kinda, sorta) to recognize their desires and understand their feelings. They were relatively new beings poured into material forms with hormones and feelings, which I think was probably a lot. Like, yeah if they were incorporeal beings, intimacy would look a lot different, but they're not. They got bodies. (Also I'm a sucker for articulating soulmates with eroticism, so sue me.)

— Honestly, one of my favourite GO thing is the implication that the dichotomy of Good and Evil are less moral compasses and more like rivaling corporations. There are so many interesting components to that idea that just fuels half of my head canons. I like the urban fantasy aspect of it to, but I'm just...I'm just a sucker for the visual language and the anachronistic bits of them talking about licensing, paperwork, invoices, lying in progress reports in the context of miracles and divine/infernal influence on humanity. God, that's so good.

...............................................................as a tangent, that's another thing that frustrates me about season two. Have I mentioned this? Probably, but whatever, we're going to whine about it again anyway. Because I reeeeeaaaaaalllllllly get why they changed the ending of s1 to make it more dynamic. Fine. Great. The book ending I think is more cohesive to the overall story, but I totally get how it would play as anticlimactic in the visual medium. The issue is that s1 ends with this massive, glorious hoodwink, which...is never really addressed like? Did anyone in Heaven or Hell figure out their little trick? If not why don't they treat Aziraphale and Crowley as more dangerous? The grand irony of s2 is that it gels better with the end of the book, which was so much more lowkey. *sighs* Maybe it'll come back up in s3, but honestly, it eats at me. (Generally, my head canon fix is that it got lost in the shuffle of bureaucracy and the chaos of trying to shore things back up in the wake of the apocalypse-that-wasn't.)