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drconstellation · 7 months

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Once and Future Royalty

Just, stay with me on this one. I know its going to look crazy at the start, but trust me, I know where I'm going.

It all started with the 537AD scene in Wessex in the opening montage of "Hard Times," S1E3. Yeah, the one where Aziraphale is supposed to be a knight of the Round Table and Crowley is role-playing the Black Knight, and they are both so super-squeaky shiny clean - not a speck of dirt or mud on them. wtf! It looks out of place, unrealistic, and was bugging the crap out of me, like a stone in your shoe. It just didn't fit. I mean, why put a myth, a legend, into that sequence? Oh, OK, yeah, the preceding stories from the Bible, like the Garden of Eden and the Flood, aren't "myths" as well, you say? Hmm. In the context of the Good Omens AU, being a biblical based story, they belong there far more than the legend of King Arthur.

King Arthur, who supposedly united Britain under his rule during the late 5th century and early 6th century, was shown to have the divine right to rule by wielding the mighty sword Excalibur. Some stories tell of Arthur pulling Excalibur from a stone. Some tell of him receiving Excalibur from the Lady of the Lake. Either way, it was bestowed upon him by divine grace. Despite his triumph in battle, he left no heirs, as his queen, the fair Guinevere, was barren. She had a long-running love affair with the greatest knight of the court, Sir Lancelot, but despite this being an open secret in court Arthur would not put her aside. The knights of the Round Table in the court of Camelot were near-paragons of Christian virtue, and there are many tales of their search for the Holy Grail, the cup from the Last Supper of Jesus Christ.

In the end, mortally wounded in battle, Arthur was taken away for healing, and never seen again. It was said he would return when Britain was at it most direst hour to save the day once more. A "messianic" return.

The Once and Future King.

Now, I'm no Arthurian novice; I drank up all of T. H. White as a teenager, read the Dark is Rising multiple times, Marion Zimmer Bradley's interpretation and what ever else I could lay my hands on for a good couple of decades. And there is LOTS of King Arthur stuff around. You are not left wanting for anything new to read or consume. And I'll bet there are a fair few of you also out there who know a quite bit about the legend as well. Oh, and I can't tell you how many times I have watched Monty Python and the Holy Grail. I still walk around quoting it day-to-day, like the good little Gen-Xer I am, having grown up on that stuff. So I really should have listened to my intuition when bits of Monty Python kept popping up in my brain in response to other parts of GO I was thinking about. (Staaay, I said, stay with me here....)

I kept chewing away furiously on the Wessex problem, growling in feral frustration at it, but also kept reading and sorting out some other ideas and metas at the same time. Eventually I found the key in a tiny little post, about a small detail in the 1941 Blitz episode S2E4, of all places. I wanted to slap myself with how much was staring me in the face so obviously once the door opened. And the damn beauty of it is, that I already written about some it, out of context, without knowing the why.

OK. Where to start this journey...hmmm, back to Monty Python, because, guess what - the Wessex scene is actually riffing off one the more famous skits out the the Holy Grail. The scene is a masterpiece of political satire, from start to finish, but the relevant part here is this sequence:

In case you missed the salient points: Arthur claims he is king by divine providence, because he was given Excalibur by the Lady of the Lake. Dennis the peasant protests this waterlogged method of determination, mentioning ponds, watery tarts and a moistened... well, I hope you get the idea about where this is going.

Meanwhile, in 537AD, Wessex, as the mist swirls around them:

"It is a bit damp," complains a shiny silver Aziraphale.

Yes, Excalibur would be a bit damp after it emerged from the Lake. (vidavalor! Get your mind out of the gutter! I'm trying to have a serious discussion here! Please! And I wasn't even going to go anywhere near what the sword in the stone is really meant to be referring to...it's not even relevant to the discussion at hand, I swear! Well, there is going to be sexual relations mentioned but - oh, never mind...)

Right. Where were we. Lets leave those super-clean elite pretendy knights to swim off through the swirling mist back to their dry homes to write and file reports to head office, along with Patsy and the hired Igors, and Dennis can keep playing in his lovely muddy filth after he finishes protesting being repressed by the divinely-deluded Arthur. I've got a bit more to say about what Aziraphale and Crowley might represent here later but you need some more context first, so lets move on. I just needed to show you the first bit so you can see the Arthurian theme stretches across both S1 and S2, and will likely appear in S3 as well. More about that towards the end.

Ah, before I forget...another ref from the Holy Grail we need to cover:

This GIF, unfortunately, doesn't have the full exchange between the peasants, which is this:

P1: "Who's that then?" P2: "I don't know. Must be a king." P1: "How can you tell?" P2: "Because he doesn't have any shit on him."

Ah. Er. OH!

Have you made the connection?

Who have I been emphasizing as being unusually clean in their Arthurian setting? That's right, Aziraphale and Crowley.

What's this implying? That they are royalty. Celestial royalty. Maybe not kings, but how about princes? You know how we've been discussing whether Crowley was a once at least an Archangel, and there is even a hint that he was a fallen prince of Heaven given during the replay of Gabriel's trial? (Not the prince, but a prince - a seraphim) And that Aziraphale may have once been Raphael, and may be again in the future? Once and future royalty. To me it adds weight to the past discussion, and helps to explain the assumed authority expressed in these two scenes here: On the left, Aziraphale takes control inside the book shop as the angels and demons argue who is going to punish Gabriel and Beelzebub (finally found it after several months!) and on the right, Crowley is shouting at the assembling demons in the street that they are "out of order."

Onward, Patsy. (I hope you're still with me.)

1941, the Blitz part 2, minisode.

We've found Excalibur! On to Camelot!

[Edit note: I've added a few GIFs and screen shots into the sequence of parallels above because I was thinking over a few things since I posted and felt this actually sat better. To try and explain, as they don't exactly match as I would like, in the Holy Grail movie, King Arthur and the knights he has gathered rock up at the foot of Camelot and gaze up in awe at it. "Camelot!" Arthur declares to the party. "Camelot!" Galahad echoes in excitement. And a third "Camelot!" comes from Lancelot. What do we get in GO? Aziraphale leaps out of the Bentley (Crowley's black horse) and declares "The theater! Sophocles! Shakespeare!" I swear, if you put the two side by side, they would match. It's not just a reminder of how much time Aziraphale has seen pass by, or that we are seeing a tragedy play out. But damn it, I could so just see Aziraphale attending a Sophocles performance in Athens back in the day...]

Camelot was King Arthur's castle and home of his court. In S2 of GO the Windmill Theater is established as our court of Camelot where our 1941 Blitz-era Arthurian drama is to play out, involving Furfur and the zombies.

Yes, poor old Furfur. Two's company, three's a crowd, as they say. Now we know we're in Camelot, we need to be reminded of the central tragedy of the Arthurian story, that ultimately led to the golden kingdom's fall. Lady Guinevere, Arthur's queen, famously loved Sir Lancelot, and the two were passionate lovers. It was essentially a love-triangle at the top, with Arthur being jilted, but he wouldn't/couldn't discard his queen. Where do we see this playing out in 1941?

Furfur, pleased with himself for catching an angel and a demon in the act of consorting together (with the help of the zombies,) barges into the backstage dressing room, and confronts the lovers with their crime. But who is playing who in the Arthurian love triangle? I would say Furfur is clearly caught in the role of Arthur here. Consider the following exchange:

FURFUR: Hmm, well, well, well… What have we here? AZIRAPHALE: Sorry, have we met? FURFUR: Oh, no, you never had the pleasure, but… we have, haven't we? CROWLEY: Have we? FURFUR: What do you mean "have we?" You know we have. We were in the same legion. Just before the Fall. Doing dubious battle on the plains of Heaven. Remember? CROWLEY: I remember going into battle, I don't remember being there with you. Sorry. FURFUR: I was right next to you. We did loads together. You use to jump on me back, little monkey in the waistcoat. Anyway, whether you do or whether you don't, it doesn't matter. I'm here to inform you, as a representative of the Higher Powers of Hell, that you, Crowley, are in breach of the Infernal Code. Consulting and collaborating with an angel, Fell the Marvelous, aka… [opens book] Azirapalala. Azirapapap. Aziphapalala. AZIRAPHALE: [annoyed] Aziraphale

Furfur claims a past intimate relationship with Crowley, which Crowley spurns offhandedly. Crowley is playing Guinevere here, jilting Furfur/Arthur, which leaves the demon-smiting Aziraphale standing in for the handsome hero Lancelot (with his French connections, no less), and doesn't he make us weak at the knees when he drops his voice an octave in dominating disgust. (Is it suddenly getting hot in here...? Phew!)

Interestingly, looking back in S1 at 537AD Wessex, though, I would say that Crowley was Lancelot as the Black Knight, a role that Lancelot sometimes played in the legends, and Aziraphale would then be the fair maiden Guinevere. It certainly plays into Crowley's long term role of playing the knight who comes to the rescue of Aziraphale's princess in distress. Excalibur was no where in sight, perhaps still beneath the waters of the lake. Nor Arthur. Perhaps it was still too early in the story then...

I had originally suggested in my very first post that Furfur was given a stag as his demon avatar because he was wearing horns for being cuckolded by Crowley. But I wasn't quite thinking about it in context with the Arthurian legend! The stag is also often associated with royalty, plus while wandering around the medieval bestiary website that someone linked to, it interestingly notes that the enemy of the snake is the stag and the stork (Shax's avatar.) Ah ha!

So how can we extrapolate this knowledge into a possible appearance of the Arthurian theme in S3?

Will we see the love triangle of Arthur/Guinevere/Lancelot come back into play and cause more chaos? I'm wondering if it might have something to do with the Fall.

Or will our lovers bring down a divinely-appointed ruler via their committed behind-the-back defiance of expected propriety?

Will Excalibur appear from beneath the waters, perhaps in another form, to declare a new king?

Could it even be a combination Jesus/Arthur, King of the World, returned? And they turn out to be a very naughty boy, disappearing into the night clubs of Times Square, New York, and that's how they lose him? (Social media viral sensation, anyone?)

I wouldn't be half-surprised if Greasy Johnson's name turns out to be Arthur, actually.

And no, I haven't forgotten that Adam's dad was named Arthur as well.

Bring on S3!

**Bonus**

If you've made it this far and you're thinking:

Let me leave you with this last connection.

In the back stage change room, remember Furfur delivers these lines:

FURFUR: What do you mean "have we?" You know we have. We were in the same legion. Just before the Fall. Doing dubious battle on the plains of Heaven. Remember?

On the first level, he is referring the Great War in the Good Omens AU.

On the second level, Furfur is paraphrasing Milton's Paradise Lost.

On a third level, I can (and will in a future meta) connect this back to the training initiative paintball fight at Tadfield Manor in S1.

And even deeper on a fourth level, if you do know the Holy Grail movie well, you'll remember there is an odd little subplot in it, that infers that the whole King Arthur and his knights thing is merely a full-on violent cosplay that is murderously rampaging across the countryside in the present day with the police in hot pursuit. It's a strange juxtaposition between reality and dream, and you aren't quite sure what it is real or not. The ending is bizarrely and abruptly surreal as the two story lines collide in the heat of battle, as the police turn up and arrest the combatants. A bit like this:

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liminalpsych · 8 days

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A very, very roughly sketched, unedited scene that wouldn't leave me alone this morning and demanded to be written (....oh hey @queer-ragnelle! I accidentally made a Lusty Month of May / May Day Parade contribution!):

The week they arrive at Sorelois. Perhaps even the day. Guinevere is half-mad with rage and grief, reeling from Arthur's betrayal, the loss of her marriage, of her court. It's the usurping of her entire life.

It makes her bold. It makes her want to be cruel. It makes her want to strike back or to take what she wants or to rebel in some small or large way. It makes her want to hurt Arthur in turn, or transgress since she has already been spurned from society and convicted for something for which she's innocent.

"There is something I wish to see," Guinevere says, there in the somber quiet of the receiving room with Lancelot, Galehaut, and Lady Bloie of Malehaut. An announcement to the air, undirected.

Lancelot responds first, of course, as expected. He kneels before her, the picture of earnest devotion. "Whatever you wish, my queen, I will strive my utmost to bring it to you."

Across the room, towering nigh to the ceiling even leaned against the wall as he is, Galehaut watches her with a carefully neutral expression. Unblinking, unsmiling, and there's the barest tightening around his eyes. He is wary of her still, and senses her mood.

The Lady of Malehaut is a different kind of unreadable entirely, lounging next to her with a spot of embroidery to keep her clever hands busy. Her full mouth is always a breath away from smiling, like she carries with her a trove of private amusements at all times. She observes from beneath half-lidded eyes, her needle flashing through cloth more by touch than sight.

Guinevere lifts her loyal knight's chin with a touch of her finger. His lips part, eyes wide and wondering. She smiles. "I want to you to give Galehaut a kiss."

Ah, if only she dared to watch Galehaut's expression in that moment! Yet she must keep her focus on Lancelot. His face pales. His breath catches in his throat. His pulse thrums against her finger like a trapped and frantic bird. "M-my queen?" he stammers, gaze darting side to side as if for an escape.

Her smile sharpens, serpentine. "Do you not wish to?"

"I— I am not—" He's breathing rapid and shallow now, on the edge of panic. It's a pretty quandary she's put him in, one with no known safe answer, and he's reeling under it.

(She feels more steady by the moment, her control re-establishing in the small sphere she still possesses.)

Galehaut steps forward. There's the edge of fury in his warning, in the creak of leather and the rattle of maille. "My lady," he rumbles.

Now Guinevere looks his way, and she lifts a graceful eyebrow at the storm in his countenance. Lancelot quivers beneath her touch, unmoored by the loss of her pinning gaze. "Will you tell me truly that you don't want this, Galehaut?"

He halts. His jaw works; the stormclouds thicken. He glares, proud and silent.

Guinevere laughs. It's a free, bell-like sound—as playful as a day a-Maying. Lancelot stills and his breathing steadies, soothed by her apparent merriment. She makes a show of taking pity on him, releasing his chin to stroke his cheek. "Do you wish to kiss me?" she murmurs, leaning closer.

His breath catches again, no different than before. He nods.

She kisses him, sweet and soft; he returns it with a small desperate sound against her lips. (It tastes like power.) He's breathless when she pulls away, and she smiles down at him, indulgent. "I know Galehaut desires a kiss from you as well," she says, "and he is the one who brought us together, yes?"

Another nod, and Lancelot seems more dazed than panicked now. Swaying towards her, and glancing shyly towards his boon companion, who draws a sharp bracing breath.

"It is not as if he's a lady," she says with a wink. "So it is not being untrue to me. And it is my request, is it not?"

"Y—yes, my lady...?"

"Do you not want to kiss him?"

"I..." Those expressive eyes flicker from her lips to Galehaut's and back again. His breath quickens again, but this time it is a little less panicked. "My lady, you ask hard questions," he says at last, helplessly.

She laughs again, darkened with satisfaction. "Kiss him, then," she commands, "and then tell me if you want to do it again."

"My lady," protests Galehaut, strained—oh, and there is longing so sharp that it is agonized, bare and naked in every rigid muscle and the aching furrow of his brow. He looks at Lancelot like a man starving. He looks at Guinevere like a man betrayed.

To give Galehaut what he so desperately desires, when he knows it is something she can take away at any moment? To receive a kiss from his Lancelot, but only on the order of Lancelot's lover-queen? For Galehaut to touch his companion in the way he desires, but only so long as Guinevere allows it, never knowing truly if Lancelot would have initiated on his own, never being certain of Lancelot's desire?

It's a power like none she's ever wielded before.

Lancelot stumbles to Galehaut on unsteady legs with a last hesitant glance over his shoulder. Guinevere smiles encouragingly and nods her approval. One last nudge—and still, Galehaut could refuse Lancelot. Galehaut is sworn to neither Guinevere nor Arthur; he needs not obey her. Galehaut could save the last unconquered edges of his heart and maintain this last barrier of distance. He could still refuse himself what he wants so badly.

Galehaut tenses, and Galehaut wavers, and Galehaut's heaves great draughts of air as if he's in the thick of a melee.

Lancelot reaches out, and Galehaut surrenders.

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