#sandman season 2 meta

[writing-for-life]

Thessaly, Johanna and a weird meta about musical motifs (amongst other things)

Send me asks about everything Sandman-related!

As a little intro: A lot of people in the fandom want to see Thessaly cut from the TV adaptation, or at least see her changed substantially. I am not necessarily one of them because I don’t think it’s always necessary to blur the lines between fiction and reality that way, and I would be alright with portraying her in a similar way as in the Audible adaptation (where a lot of things have already been changed to make her character more palatable to 21st century audiences). It would also make Morpheus look a bit less morally grey (I mean, he falls in love with someone who is essentially a terrible person, knows it and doesn’t seem to give a shit. Then again, he often is morally grey, and people like to forget that ;)).

Having gotten that out of the road: I *do* think that “A Game of You” is hard to translate to the screen. I absolutely love it in the comics, but I think it’s one of those arcs that is tricky to do well for TV. I’d even go as far as saying it might be a dealbreaker for some people who haven’t read the comic/are show audience only, and it might jeopardise a potential S3. Not because of Thessaly or the plot as such, but because it operates on a similar plane as The Doll’s House, which was jarring to a lot of people in S1. And The Doll’s House has a far more straightforward arc and more Morpheus in it—AGoY has none of these things. I’d personally love to see it, but I would also love to see Morpheus’ full arc being brought to the screen, so I am a bit conflicted. I still think, and of course that’s just a personal opinion, that it would be best to just have little bits and bobs inserted into Season of Mists and do the whole Cuckoo arc as an animation, but that’s just me.

@tickldpnk8 and I already speculated wildly about S2, and sole speculation it is, but maybe you want to check out that post. I’m getting carried away here...

After that longwinded intro: Are we going to get Johanna instead of Thessaly?

What I actually wanted to write about is why the longer I think about it (and I’ve been thinking about it since S1, I'm really that sad), the more I can’t shake the feeling that they *will* replace Thessaly with Johanna. And the fandom is totally divided about it—some love the idea because they had undeniable chemistry in S1, others hate it for various reasons (doing Johanna dirty, keeping Thessaly "intact"--you name it).

I personally think it might actually elevate the story because it would make Morpheus look better (*if* that's what we want--I'm not really sure I do), and that’s what show-only-fans seemingly gravitate towards. As already hinted at, Thessaly/Murphy always seemed a rather unfathomable relationship, and it didn’t just make Murph look stupid, but also, as already mentioned, morally grey and not very discerning in his choice of women (hmm, maybe he just isn’t ;)).

Falling for Johanna wouldn’t be any of this. And it would be so easy to show why it went horribly wrong without making either of them look bad, and you could still feel for both of them. If we think about Johanna’s worst nightmare (literally), it’s what happened to Astra. So she would absolutely and unequivocally support someone like Lyta, who worries about her child. And she would do it for all the right reasons, and not because she’s a selfish bitch who just wants a longer life or is generally spiteful.

And it wouldn’t be hard for Morpheus and Johanna to hook up either. They could even leave the original idea intact: Thessaly just dreamed of him, and they started talking in dreams, bla bla bla. We already have the set-up for that in S1. Morpheus took away Johanna’s nightmare. She could just be grateful, relieved, whatever, and dream of him. Done. And we don’t even need to explain that at great length, because in the comics, we never really see them hook up anyway and just find things out after the deed. Although I personally *want* to see them get hot and heavy on screen, but that’s just me having my mind in the gutter because why would you not to show two sexy people with so much chemistry doing exactly that. However, I’ll survive the disappointment if they don’t—just 😂

But it’s not just the plot. It’s also everything we’ve seen in S1. I have already talked about this in other threads, most recently with @orionsangel86, but literally every shot with them in S1 was framed as a romance shot: the proximity, the play on height difference, the camera angles, the lighting. These are deliberate choices, either to hint at what’s to come, or to set up a distraction, MacGuffin, whatever.

Then the mention of “None of us can be trusted.”

Or the RAIN. I mean, I am so surprised no one has commented on that waterfall of RAIN when they say goodbye (or I’ve just not seen it). You cannot read the comics and ever believe again that Morpheus and rain, no matter where, doesn’t hint at terrible relationship outcomes.

Musical themes, oy!

But the thing that really got me was the use of musical motifs, and I am unfortunately showing my background from a former life here because I can never listen to a movie soundtrack without getting analytical about it. Johanna’s theme is called “Johanna & Rachel”, and it would be easy to just think of it as that. And yes, it is a love theme, but it doesn’t just play for Johanna and Rachel. It plays in Morpheus’ and Johanna’s last scene as well.

And here’s the kicker: Dream’s and her theme complete each other, as in: They both have what the other one is missing. They are musically extremely close, but not identical. Let me explain:

If you think of the opening lines of both of their motifs in scale degrees (like 1-2-3-4-5-6-7-(1)), they look/sound as follows:

Johanna (her motif begins right at the start, so I didn't timestamp it)

1-(minor3)-7-(2)-(1) | 1-(major3)-m7-1

If I put all of “her” scale degrees in a row, they are: 1-2-3-7

Dream (you actually hear his leitmotifs, and their subtle differences, best in his scenes with John Dee):

1-(7)-(6)-(5)-(4) | 1-(7)-(6)-2 (video is timestamped)

1-(7)-(6)-(5)-(aug4) | 1-(7)-(6)-2 (video is timestamped)

If I put all of “his” scale degrees in a row, they are: 1-2-4-5-6-7

Morpheus is missing the third (3). Missing the third, which s considered one of the most consonant intervals and DYNAMIC, also hints at his character, but that just as an aside.

Johanna has the third (both in its minor and major form). 

Johanna is missing the fourth, fifth and sixth.

Morpheus has them, in various forms (major and augmented—especially augmented intervals are highly unstable and create a lot of friction).

What they share/have in common are 1, 2 and 7:

The tonic (1) is what everything else hinges on. The supertonic (2) is musically fraught with tension and seeks to resolve into the tonic--back to base or a conclusion/resolution, if you will. The seventh (7), both as a leading note or subtonic, is also that: Tension that needs resolved.

So all they have in common is tension that needs to resolve into some sort of resolution.

(And before we are pointing out the obvious: of course both tunes have more notes in it respectively, but we are talking about the main motifs.)

What’s also super interesting is where their overall themes are going. Johanna’s is initially darker, but it actually has a lot of ascending lines and “light” before plunging back into darkness.

Morpheus’ seems a lot more regal (for lack of better term), but the lines are mostly descending. This becomes even more apparent when we are not just listening to the opening theme, but to the several variations of his theme (his presence can be felt literally everywhere, even in Desire's theme).

It just freaked me out majorly the moment I heard it for the first time in contrast. But I like to over-interpret musical stuff because I just hear it so clearly. I *do* believe that composers do these things on purpose, even if just subconsciously, because we can't separate what we know about a character from how we perceive them musically (I do it as well). Of course that doesn’t always mean that it’s exactly the purpose I am thinking of, or that it hints at whatever is to come. My brain tends to run away with these things.

But yes, musically, they are totally "on track", so let's run with it. I'll admit my embarrassment later when this all goes into a completely different direction ;)

(Also tagging @honeyteacakes in this since I encroached on your comments recently)

[tickldpnk8]

A Morphanna Theory

So it occurred to me as I was rereading A Game of You over the long weekend, that we might have already seen Johanna Constantine replace Thessaly in Season 1.

So bear with me while I put myself at risk of looking like this guy:

What we know

So we know a few things already given the BTS tidbits we've gotten so far.

We know that Season 2 will be significantly compressing the storyline between Season of Mists and Brief Lives. (baring something incredibly surprising such as having filmed a LOT for this season during filming for Season 1 and also filming ahead for Season 3)

A Game of You has to be either cut or significantly shortened/overhauled at this point considering the BTS shots of Wanda's character and the above outline of episode names.

We know (due to @writing-for-life's excellent analysis) that the music themes for both Morpheus and Johanna blend together well.

Pure speculation

So what struck me on this reread (and don't worry: I've got a draft started for my analysis) was just how much the interactions between Thessaly and Morpheus mirror the interactions between Johanna and Morpheus in S01E03.

First we get both women being generally unimpressed by Morpheus' ordering them about. With Johanna, it's in response to Morpheus turning up and demanding she take him to the sand.

With Thessaly, it's over him scolding her for acting rashly in taking the Moon Road to save Barbie.

This one felt more thematic to me than a direct comparison or direct quote.

Next, we get both of them lecturing Morpheus on his inaction where mortals are concerned.

(yes, I did learn how to make gifs just for this post: feel free to use) Johanna's lecture comes when Morpheus is ready to walk away after retrieving the sand...potentially leaving Rachel to her fate. Essentially blaming Johanna for leaving the sand there in the first place.

Thessaly's lecture comes as Morpheus is ready to walk away after removing the Skerry from the Dreaming. Although he hasn't stated his full intention yet, he's clear that he's not going to help them get home or get off the little bit of land that is left.

And finally, you see a bit of them both denying any interest.

(okay, so I made 2 gifs...) When Ric the Vic says that Morpheus is "not unfit", Johanna replies that he's not her man in a tone that makes it sound like she wouldn't consider it.

Meanwhile, Thessaly stews over Morpheus after he scolds her in the panels I posted above, saying that she's not buying his cool act and that he looks too skinny anyways.

So there you have it: scant evidence to be sure, but I found the 3 themes of each of them standing up to him for ordering her around, lecturing him in turn, and then also denying any attraction to be some fun parallels.

Given that we don't see much of Morpheus x Thessaly on-page, it feels like we have ample suggestions of Morpheus x Johanna in comparison. If they do go this direction, I really hope we see much more of it on screen than we did of Thessaly's blink-and-you-miss-it suggestion they were together.

[orionsangel86]

Its gonna drive me crazy - that they are filming Song Of Orpheus now, before Season of Mists and Game of You.

I can't fathom how they can possible tell the story of Brief Lives before at LEAST SoM, so I am super curious how they are changing this order around and WHY.

Because I think the main thing it indicates is that the show wants to keep the focus on Dream instead of on other characters.

I have to wonder if they want to simply tell the story of Dream and Calliope, and Orpheus, before they delve into Dream and Nada (which imo will be very difficult to adapt and keep any sympathy with their lead character). That rather than keeping the order strictly as per the comics, they will instead spread out the various histories of Dream's long life leading us to the modern day so we can see just how much he has changed. Because I just can't see Brief Lives being tackled in season 2. I just cant. Its too much of an emotional climax. We need the other stories to provide build up.

I can see some sense in wanting to keep a coherent story focused on the lead character - the comics take forever for us to learn anything about Morpheus beyond "spooky goth dream boi" so im glad that we will go straight into his histories and perhaps learn a bit earlier why he is Like That.

But who knows! The costume slaps, he looks amazing in his flowy ancient robes and deep V neck, and for the time being I'll just enjoy amy new pics of Tom in his awesome Dream outfits (and hope that they get sluttier and weirder as time goes on)

[achillesuwu]

Izzy death & The end of the golden age of piracy

I like the explanation someone gave here and I will add a bit to it (yeah Izzy death was rushed and the way they filmed it wasn’t…very good (Ed’s hand why do you suddenly appear, stede why are you smiling then sad, everyone why do you look like a pack of children in front of a tv playing boring ad—) :

basically, this show happens when the the end of the golden age of piracy is near (the real Blackbeard dying marked that end in real life). Izzy in s2 began to represent actual piracy; he grew to be a "proper" pirate.

He actually tell us that in the last ep :

"it isn't about glory, it isn’t about gettin’ what you want. It’s about belonging to something when the world has told you you’re nothin’. It’s about finding the family to kill for when yours are long dead. It’s about letting go of ego for something larger. The Crew. »

"You are not a pirate, lad. You are a spoiled, entitled bunch of twats dressed in puffy, blue nighties."

"Kill us. Kill us all. Our spirit will last throughout your entire fuckin’ empire because… we’re good. And you are a rancid syphilitic cunt."

"it isn't about glory, […] It’s about letting go of ego for something larger. The Crew. " izzy s1 was very much focused on his pride, on the way pirate should be. He cared about the crew but he is way too focused on Blackbeard, too focused on them living but not actually being happy (‘You see him as some sort of a…pet’, ‘you are not proper pirate’, the whole mutiny that happens because the crew was fed up with his attitude, ‘piniiiiiiing about his boyfriend […] Ed better watch his steps.’). Izzy in s2 learned that he has to let go of his ego for something larger, the crew, to be a community (the whole ‘you are born alone, you die alone’ & him getting his unicorn leg, La vie en rose ‘It’s him for me, me for him in life. He said it to me, He swore it to me till death do us apart.* And as soon as I see him, then, I feel him bringing me back to life.** Me being Izzy, Him being the crew. The crew give a purpose to Izzy.)

*the literal translation is more ‘It’s him for me, me for him in life. He said it to me, He swore it to me for life’ but it’s implicitly a marriage vow. (Native french speaker here)

**‘And as soon as I see him, then, I feel my heart inside me beating.’ But here in the context of ofmd I think the romantic meaning is remplaced by ‘this is my purpose in life and it makes me feel alive’

"It’s about belonging to something when the world has told you you’re nothing" Izzy s1 insisted that Edward was nothing, in s1 he also thought that he was nothing without Blackbeard, he thought the Crew of the revenge wasn’t his crew but just a bunch of moron. In s2 we see him learn that he is someone outside of his job toward Blackbeard & his dying speech show us that he learned that Ed wasn’t nothing either (something something about the cursed jacket being Blackbeard’s heart and Izzy agreeing that it isn’t cursed but for the crew [and Edward now] they have to let it go). + I don’t need to explain that we see him in s2 actually seeing the crew as, well, an actual crew where he belong too

‘It’s about finding the family to kill for when yours are long dead’ (I won’t spend a long moment on that because it’s more about Edward but something something Ed actually killing for the first time in ep 8 something something something Him accepting his darkest part fully (piracy) when he think Stede could be dead. Well actually it really fit—)

So, Izzy dying isn’t about the old way dying as some people seem to think it represents(the old way are already dead at that point as many pointed out). It’s about… well, piracy dying. The golden age of piracy is ending (merthur when will I get free of you—).

And yet, why did David said this ?

Well, people, again : Izzy speech !

"Kill us. Kill us all. Our spirit will last throughout your entire fuckin’ empire because… we’re good. And you are a rancid syphilitic cunt."

(Edit : also it’s interesting that the only other time syphilis is said in the show is in the cursed jacket episode)

So, him dying is about piracy dying. HOWEVER, community ( as we can see with the revenge) still seems to thrive because even if ‘piracy’ dies, the core of it will not. Community & their stories (the unicorn is an animal of legend) will still outlive everything else, expecially the assh*les [the British empire]. The seagull (Button) represent change. Piracy died because everything end at some point but what is death if not change? (The Sandman is this you ?) What if life began again ? Good will not just triumph against Evil, it will outlive it and if it dies it will rise again changed.

OFMD isn’t about the immortality of thing, it isn’t about staying miserable where you are, it’s about the death of thing. No matter how hard it’s you have to try, let go of the rope that bind you and change.

So yeah, I agree, that final episode was rushed but I disagree, Izzy dying wasn’t pointless.

[nualaofthefaerie]

(via Endless Serendipities: Fashion in "The Sandman" season 2)

When this picture first dropped, I gave the Sandman Fandom a small taste of what the fashion in season 2 might be. 

That post inspired me to begin “The Couture Thing” an homage to the Sandman character “The Fashion Thing”, a blog centred around the fashion, psychology and meaning of our favourite characters.

I know how much Tumblr loves a good meta, I promise you Sandfam you have never read a more curious little story about Dream and Desire of the Endless

[very-normal-abt-this]

Ok..ok...hear me out. Is it possible that *Anthony Crowley* is a nod to actual person *Aliester Crowley* who was born (12 October 1875 – 1 December 1947) and was an "English occultist, philosopher, ceremonial magician, poet, painter, novelist and mountaineer." Who is the inspiration for Ozzy Osbourne's Mr Crowley, btw!

"Occultist"?? Crowley says they are "occult" beings? And Aliester Crowley is mentioned in the Sandman on Netflix!

Are these little winks from Neil across his universes , or have I completely lost it? A little column A , a little column B perhaps....🤯🤕🧐🤨

[karalynlovescake]

After having the conversation multiple times about how many people (myself included) had stopped writing for years until the Sandman on Netflix came along and grabbed us by the neck.

And after watching the screaming reactions to Good Omens season 2, (and all the meta and analysis and thoughts about plot structure, and suggestions for what makes sense for season 3.)

I have decided that Neil Gaiman's secret agenda is not the screaming or the angst.

I think his secret agenda is to make us all WRITE.

[qqueenofhades]

Good Omens Season 2: Some Thoughts (and also Screaming)

First, /screams

Second, obligatory disclaimer that this meta contains MAJOR SPOILERS for all six episodes. If you somehow have managed to remain virginally unspoiled, look away now, scroll past, or add "good omens s2" and "good omens spoilers" to your block list, as those are the tags I have been using for all posts and reblogs.

Third, /screams more

Okay okay okay. Deep breaths.

Anyway, so, uh, how about all that, huh? First, the good thing about the tone of the season overall was that it felt considerably darker and more adult, in a good way. We didn't have the precocious kiddies, the kitsch and literally-comphet Anathema and Newt, the so-clever narration, etc. All that was gone, which makes sense when you consider that a) the end of last season saw them reboot into an entirely new universe, and b) the fact that God has gone silent is, in fact, a major plot point for the season. We don't have Her slyly telling us the story, or indeed anything, and everyone is left to make their own judgments and take their own actions. Which, obviously, gets them into a lot of trouble, especially when Metatron (the Voice of God, aka someone acting in the belief that they're speaking for God and therefore doing terrible harm) swoops in with the ultimate buzzkill at the end of episode 6. But we'll get to that.

The downside was that the main, present-day plot (hiding Gabriel in the bookshop and trying to get Nina and Maggie to fall in love) was fairly thin, felt stretched out and at times weirdly paced, and otherwise existed mostly to get us to That Ending and the setup for season 3. But the ending was so damn good (if obviously, very painful) that I can't be TOO mad, not least because we spent six episodes with them just making absolutely no pretense about the whole thing being as incredibly homosexual as possible. I'll be honest: I did not think they were going to actually, explicitly go there. Neil Gaiman has been so consistent about "your interpretations are valid and you're welcome to read it however you want, but the only canon is what's on screen," which I think is frankly a good thing (not least since the Neil GAYman Cinematic Universe is consistently very, very good to us queers), that I just... didn't quite think they'd pull the trigger. Sir Terry is dead and can't have active input, this is based on a book published 30 years ago, maybe they didn't want to make it LIKE THAT... etc. I certainly hoped, but I didn't really think they would.

Uh. Well.

As I said in my various semi-coherent liveblog posts, I honestly don't think there was a single straight person in the entire season, among both major and background characters. Aziraphale/Crowley and Maggie/Nina are the obvious paralleling couples, but Beelzebub (using "they" pronouns and addressed as "Lord" despite presenting as femme/femme-adjacent) is clearly nonbinary and therefore also queer, and the countless gay/queer side characters were just /chefs kiss. From Job's son making a sassy pass at Aziraphale, to the random Scottish goon with Grindr on his phone (which he then gives to Aziraphale, because what is subtlety), to the interracial couple with the trans spouse at the Pride and Prejudice ball, there was just a lot of casual, unremarked, non-story-critical queer representation visible at every turn. It's like the NGCU saw the bigots wailing about Sandman season 1 being extremely gay and went CHALLENGE ACCEPTED, LET'S MAKE GOOD OMENS 2 EVEN MORE GAY.

God bless.

Obviously, Jon Hamm as Amnesia!Gabriel stole the show (he was SO fucking funny) and it was also incredibly fun to watch Miranda Richardson repurposed as a scheming demon. Nina Sosanya also reappeared as Nina the coffee shop owner, which leads us into the Maggie-and-Nina subplot. They're obviously, wildly, incredibly clearly an analogue for Aziraphale and Crowley themselves, but they're also each, crucially, a mix of both. On the surface, Maggie is Aziraphale: the plump, blonde, earnest, sweet-natured one owning a slightly dated book music shop and somewhat clueless about emotional nuances, while Nina is (also on the surface) Crowley, the hard-edged dark loner who doesn't want to open herself up to people or be spotted caring. But emotionally, Maggie is Crowley: the one openly pining, clearly besotted, only wanting to hang around their crush and do whatever they can to make themselves useful, while Nina is Aziraphale. Interested but reticent, attracted but conflicted, trapped in an abusive relationship with a demanding offscreen "lover" (Lindsay/Heaven) who tries to constantly control and shame them without ever offering much, if anything in return. By the end, they bring themselves around to what Maggie/Crowley are offering, but by then, well. We've got a lot more problems on our hands.

As I also said in my earlier posts, this entire thing has always been a metaphor for religion, queerness, and what religion -- especially abusive, fundamentalist, organized religion -- does to queer people, but they really cranked the FUCK out of that metaphor this season. Aziraphale is guilt-tripped, controlled, and shamed for his attraction to Crowley at every turn. He is torn between his imagined duty to Heaven, in all its ignorant, uncaring, bureaucratic, gratuitously cruel system that he still insists on seeing the best in because he can't bear the alternative, and the chaotic and sometimes grey but genuinely more good morality that Crowley offers him. (Can I just say, we were explicitly shown that the two of them together doing "just a little miracle" are more powerful than Heaven AND Hell combined.) And at the end, he's told that the only way he can be with Crowley -- what Metatron explicitly blackmails him with -- is if they both go back to heaven, submit themselves to the cruel system again and give up everything that has made them who they are: their home in London, their human friends, their reliance on each other, their independence, their own ways of doing things. You can be queer in this (religious) framework, but only the limited, watered-down, controlled, controllable, constantly-under-supervision kind of queer, which relies on both you and your lover "converting" back to the true faith. And if you don't cooperate, they will literally kidnap you, lie to you, manipulate you, take you from your soulmate, and force you right back into doing the one thing (destroying the world) that you never, ever wanted to do in the first place, because in their minds, that is still better than this. It's for your own good.

Ouch.

And the thing is: that's why the ending a) hits so hard and b) is so fucking painful, because of course Aziraphale agrees. He has no conception of being able to defy Heaven on his own; he has always, always needed Crowley for that. In the flashbacks, when Aziraphale is faced with an order from Heaven that he desperately does not want to carry out (such as letting all Job's children get killed), he still relies completely on Crowley to "outsmart the rules" and find a better way. Crowley is A Crafty Demon; that's what he does, and so Aziraphale rationalizes it to himself that therefore that must be fine. Even in season 1, when he really didn't want the Apocalypse to happen but initially thought it was his duty as a good Heaven footsoldier, he relied on Crowley to talk him out of it and allow him to do what he really wants instead. That's their whole dynamic in a nutshell, as exemplified in that scene in episode 2, where Crowley tempts Aziraphale with the "pleasures of the flesh" while sprawled on his back in Ravish Me mode like the giant walking gay disaster that he is. (Sorry, buddy. That beard. Can't do it.) Everything that Aziraphale's existence is, that makes him who he is, that he loves and cherishes the most (in this case, food and wine) comes from Crowley. Everything else is just background noise.

Throughout the season, what we see is Aziraphale increasingly coming around to the fantasy of being with Crowley. He's coy and flirty; he talks about "our car" and expects Crowley will let him (which he does); he wants to have a Jane Austen ball and for them to dance together (oh my heart); he even thinks, at the crucial moment, that the best way for them to be together is to go back to heaven just like they were in the beginning, once more perfect angels, as if those entire six thousand years of struggle and grief and pining and separation and falling didn't happen. And Crowley -- poor, poor, brave, devoted, heartbroken Crowley -- has just heard for the first time in said six thousand years that actually telling the person you love how you feel is an option. Maggie and Nina tell them point-blank that their whole stupid plan failed because people aren't chess pieces who can be moved and automatically achieve the desired result. And of course this gobsmacks the dearest and dumbest Ineffable Husbands, because they can't conceive of anything else. People are chess pieces in the Great War of Heaven and Hell; Aziraphale and Crowley themselves are chess pieces who have been desperately trying to get out of being moved by external forces, but that doesn't change the fact that that's what they are. They don't have volition or agency aside from that which they can sneak for themselves in brief and stolen moments. That's it.

Until, well. It's not it. They discover that this whole would-be war is actually an elaborate ruse to cover up another angel-demon romance, that of Gabriel and Beelzebub. (I'll be honest, I'm 99% sure they did this storyline because they saw the fans crackshipping them, but I appreciate a fictional narrative that values and incorporates its fans' input, rather than trying to constantly "trick" or "outsmart" them or "do what they don't expect.") And Gabriel and Beelzebub get to be together, but only by leaving their world forever. They have to desert their homes, their structures, even their own identities, and never return. And Crowley and Aziraphale are so rooted in their "precious, perfect, fragile" life in their little corner of Soho, with their bookshop and their Bentley and their dining at the Ritz (which they didn't get to do in the end because METATRON /shakes fist), that that just doesn't work. Neither of them can conceive of doing that. So Aziraphale thinks "go back to heaven and try to make the terrible system do some good and take what we can in terms of being together" and Crowley just... pours out his heart. He's ready to fucking propose. He barely stops himself from saying something to the effect of "I want to spend eternity with you." He begs, he pleads with Aziraphale to go away not in the literal sense, but the emotional/metaphysical: to finally break this toxic dependence on Heaven and tell them once and for all where to stick it. And because he is desperate to make Aziraphale understand, he finally throws all caution to the winds and recklessly, desperately, adoringly kisses him, the one thing he's wanted to do for ages and...

Gets. Shot. Down.

Ugghhhhh. I'm suffering all over again. Aziraphale wants him, hungers for it, for them, and yet he's been so abused and so conditioned by Heaven (he's still blithely repeating to Crowley's face that "Hell are the bad guys!") that he just cannot accept that kind of desperate, blind, limitless, lawless affection. He even forgives Crowley for this "transgression," just to really twist the knife, and Crowley just can't take it, can't face up to how terribly this has all gone up in flames, after he went to heaven trying to find the answer for Gabriel's situation. Gabriel, who he fucking hates. Gabriel, who tried to kill the angelic being he loves (and for which Crowley has transparently never forgiven him). And yet at one pouty puppy-eyed look from Aziraphale and a warning that whoever is harboring Gabriel might be in danger, Crowley leaps headlong into the Bentley again and rushes to the rescue while "Good Old Fashioned Lover Boy" is blaring. He stoutly protects Gabriel; he does a miracle to disguise him; he lets him have hot chocolate and stay in the bookshop; he guards him from the literal demonic horde outside. All because of Aziraphale. That's it. And then, it still doesn't work. Not only that, Gabriel's absence and decision to forego Armageddon gives Heaven the one tool they finally need to take Aziraphale away from him.

I repeat: Ugghhhhhhhh.

(In a good way. Ngl, I love this angst. This is the kind of angst my brain Thrives on, the Thematic Parallel Romantic Character Arc kind. Nom nom nom. But also: AGONY.)

I also need to talk about Aziraphale driving the Bentley, aside from the obvious metaphor of him being in Crowley's home while Crowley is in his. Last season, we had the "you go too fast for me, Crowley" scene with them sitting in said Bentley, which was Aziraphale saying he's not ready for a relationship. In this season, as noted above, we see Aziraphale increasingly embracing the potential fantasy of being with Crowley. But here's the catch: when he's in the Bentley this time, driving it, setting the pace, acclimating to the idea, he's driving his own idea of what the Bentley/his relationship with Crowley is. It's not the real thing. He plays classical music; he supplies himself sweets; he turns it yellow; he drives too slow. Crowley calls him in another old-married-couple snitfit to complain that Aziraphale's messed it up, but what Aziraphale has actually messed up (or will, by the end of the season) is far more consequential than just a car. He's changed the entire shape of their relationship to the one he thinks can make it work, and it just doesn't. It has to be them -- "we could have been... Us" -- or it's not even close to the truth. It's not worth their time.

I repeat: Ouch.

Speaking of the writers validating fan theories, I know we all picked up and screamed about on Crowley's idea of Peak Romance Guaranteed To Fall In Love being sheltering from rain and gazing into each other's eyes, which confirms that that poor bastard was indeed ass-over-teakettle gone as soon as he met Aziraphale (again) in Eden. I also need to talk about the 1941 redux, because wow. This time, the danger comes from Hell, which we see being its usual self: gleefully, pointlessly cruel, pettily backbiting, dirty, sniping, tedious, endless, determined to mindlessly destroy because They're The Bad Guys and they like it. So they blackmail, spy on, miracle-block, illicitly photograph, and try to prove that Aziraphale and Crowley are secretly a couple, right after Aziraphale himself has just had the Light From Heaven realization that he's in love (which we all also picked up on in s1). They're forcibly outing them (to speak of more Religious Queer Trauma) in order to break them up/get them into trouble with their authorities/families. Aziraphale and Crowley manage to escape it mostly by dumb luck, but Crowley having an altogether freakout, hands shaking, barely able to actually point the gun at Aziraphale even in the knowledge that it's supposed to be fake, is just... wow. He can't even fathom the idea of ever trying to destroy him in earnest, especially when he knows on some level that Aziraphale also finally just realized his own feelings. So I just need to --

/screams

Anyway, Aziraphale's entire arc this season is doing what he thinks is the right thing and then inadvertently causing harm and damage as a result. In the Edinburgh flashbacks (live slug reaction of me: SEAN BIGGERSTAFF???!!) he tries to stop Elspeth from stealing bodies and gets Morag killed and Crowley drinking the laudanum to save him (though that part with David Tennant just riffing left and right, using his natural Scottish accent, and being Tiny Crowley/Huge Crowley was hilarious). He invites his neighbors to a Pride and Prejudice ball and makes them all the target for demonic attack. And of course the Job episode: Aziraphale, horrified at Heaven's callous cruelty, desperate not to get Job's children killed, willing to go along with Crowley's tricks to save them somehow, tempted by Crowley to do the fucknasty with their angel bits eat some food and decide that he likes it. As mentioned, the whole thing about God being silent this season is a major thematic choice. The only time we see/hear God is Her communing with Job from afar. Aziraphale enviously imagines the answers he must be getting (he's not, he's baffled and perplexed), while Crowley longs beyond words to even have the opportunity to ask the question: why? Why do this? Why is this your plan?

And of course, this absence culminates in the Metatron, the Voice of God, the person arrogantly claiming that they're speaking for God and know exactly what Heaven wants, being able to seize Aziraphale by the short hairs and absolutely fuck him over. Gabriel is gone/decommissioned/eloping with Beelzebub, so Heaven needs a Supreme Leader (God apparently is no longer a factor in the equation). And what this Supreme Leader needs to do is finally unleash the Apocalypse that Gabriel decided to pass on (the Second Coming). Aziraphale needs to be punished, taken away from Crowley's influence/love, and put back under Heaven's explicit control, so Metatron spots a great opportunity to do all three at once. It's not an accident that the exact tool he uses to get Aziraphale to agree is "now you can actually be with Crowley!" Aziraphale and Crowley have been trying so hard to hide out from their respective Head Offices, but now all at once, there's this seemingly miraculous opportunity for them not to have to do that anymore! They can be together! They can be sanctioned by Heaven! They can give up all this hiding and sneaking around and lying! Isn't that better?

... As long as, of course, they give up absolutely everything that makes them who they are. No big deal. Minor catch. Probably nothing.

Metatron doesn't let Aziraphale have time to escape, or think it over, or reflect, or anything. He pressures Aziraphale to come with him immediately, or be once more subject to Heaven's implicit wrath/destruction/judgment. Believe me, Aziraphale already KNOWS he's made a huge mistake, as soon as he hears what Metatron really wants: bringing him back to unleash the Apocalypse that Aziraphale and Crowley have given up literally everything to prevent. He doesn't need time to reflect. By the time my man is in that elevator, he's well aware of what a catastrophic misjudgment he's made, and yet --

Aziraphale needs this. He has, as noted, literally always relied on Crowley outsmarting Heaven's cruel orders in order to prevent himself from having to do them. He's relied on Crowley rescuing him ("rescuing me makes him so happy," WELL BUB, IT'S BECAUSE YOU ALWAYS NEED IT). He admits to Crowley's face that "I need you!" He hates Heaven's sadistic meanness, but he has absolutely no framework, in and of himself, to defy it. When the rubber hits the road, he will crumple and try to go along with it, and now he's been put in a position where he's going to have to stand up, defy Heaven, and make the break once and for all BY HIMSELF. He doesn't have Crowley around to do it for him, he has no support, he is going to arrive in Heaven and be shuttled straight off to the Apocalypse 2.0 War Room. The only way he gets out of this is if he actively stands up, if he chooses himself and Crowley and their life, and he has to.

The thing is:

Aziraphale has lived his entire eternal existence Looking Up. Up is the direction of Goodness and Heaven. Up is where Angels go. Up is where Aziraphale comes from and where Demons and Hell are not. But now he's going Up, in a position to take over the whole shebang, and it's the last thing he wants.

So he's going to have to come back Down.

He's going to have to Fall. He's going to have to get back Below at all costs. He's going to have to finally, once and for all, understand what led Crowley to make the choice to leave Heaven and never come back. It's only then that they can possibly be together on any kind of conscious, equal, deliberate footing, claim their own agency, reject Heaven AND Hell, and try to really earn that South Downs cottage and that happy-ever-after, and it's gonna hurt so good.

Now if you will excuse me, /screams

[immaturityofthomasastruc]

Sometimes I feel the shows world is… empty but at the same time has too much

In season 2 they put sentient robots able to feel actual emotions like they are something common enough for a teenager go make them

In the specials they introduce other magic systems like the cousins of the kwamis and then introduce things like Batwoman and super/Wonder Woman

Then in season 3 they introduce FREAKING ALIENS!!! (Bunnix said they exist) I wouldn’t be mad if they elaborated in those subjects

But they don’t, we don’t have meta humans in the rest of the show but season 5 finale, we don’t have magicians and we haven’t seen a flesh and bones alien (I think since I don’t know what Majestia’s whole deal is)

The origins episode and the backstory of the guardians and miraculous imply the existence of other monsters

We see a kraken, a fusion of a Sphinx with Medusa fighting Heracles, a dragon fighting a ladybug holder on medieval glass stain similar to the ones in churches, and then we see some unknown hero fighting a Evangelion like monster on the sea with a Japanese style

But we only have Akumas, Akumas and Akumas, and in special occasions we have Akumas but BIGGER or Akumas but R E D ,Where are those monsters in modern age? Some of the crossovers they had planned with other ZAK shows implied the existence of witches, fairy’s, ghosts and a giant snake monster

The world introduces the supernatural and science fiction but instead of using it we are stuck with miraculous

Why is no character using magic? Why isn’t there sandman or rhino like villains rooming the streets? I Can see post season 4 Gabriel doing what tombstone did in spectacular Spider-Man and turning criminals into super villains to get the miraculous or at least to make negativity higher through all of Paris by introducing super villains who are willingly evil AND have permanent powers

Or why isn’t there a evil wizard searching for the miraculous for power or a ancient evil the kwamis sealed searching to take revenge on Plagg and Tikki? Or just Gabriel using evil magic to summon a hunting hound monster to track the miraculous and the heroes have to find a way to defeat a enemy they can’t defeat by their usual way (their usual way is breaking the evilified object so the enemy just disappears)

They keep introducing weird things and concepts and do nothing with them, is like they tried to be Spider-Man in the “exists on a larger world full with heroes” and then proceeds to ignore all other Spider-Man things like having a rogues gallery and constantly facing magic and sci-fi threats

Heck I might even say he only did this to ride the Shared universe train marvel started but just like DC and the Dark verse, they failed (except for the Monsterverse, the Monsterverse is ETERNAL)

That's the weird thing about this show. It wants to be a simple good vs evil story, but it also wants to flesh out the universe for future spin-offs.

This is why I just can't stand the Miraculous World specials, because they don't do anything with the concepts introduced. The Miraculous scattered across the world, other magical artifacts like the Miraculous, and the goddamn multiverse are only used for what is glorified filler. A lot of these ideas could easily be fleshed out for their own seasons, but the show only wants the conflict to revolve around the heroes and whoever gets the Butterfly Miraculous.

If you want to expand your universe, you need to think about how this development will affect your story as well as your world.

[writing-for-life]

If I read once more they “changed” Dream’s family dinner look from the comics, especially the hair, I’m going to flip.

This is Season of Mists. Dream on the balcony with Death right after Desire rattled his cage—with his hair down.

What we see in the sneak peek is

comics accurate family dinner attire (maybe more monochromatic, but pretty spot on regardless)

The only thing they’ve changed (by the looks of it) is that he doesn’t step out of the picture with a tricorn and his hair tied back—but the bow is gone on the balcony, and the hair is down.

His hair is still tied when he storms out, but that’s him in the next panel:

Maybe he ruffled his hair, maybe it’s just his way of taking a deep breath and freeing himself of the unbearable constraints of a hair bow—who will ever know.

But the show writers/costume department certainly didn’t take this one out of thin air—they just streamlined it into one look…

[tickldpnk8]

Sandman roles that might be combined

We’ve (@writing-for-life and @orionsangel86 and I) just had a lengthy discussion this weekend on why and how Modern Johanna Constantine might be combined with plot points previously centered on Thessaly. And it’s got me thinking about how they might combine other characters moving forward to help condense the cast and streamline the plot.

First up, is the obvious one we’ve all heard rumors on: combining Wanda with the chauffeur Ruby from Brief Lives. We think this started with a casting call. I have a hard time imagining how this will go other than hopefully preventing Wanda’s death in A Game of You.

Lucienne already seems to have assumed Eve's role in minding Dream's ravens from Season 1. If we get Parliament of Rooks or The Kindly Ones, I think we'll see her replace Eve's bit parts in those issues, too.

Hob could easily be expanded upon in so many ways. But I could see them using him as the driver who gets caught up in a reality storm at the beginning of World's End. Who better to introduce a bunch of stories told in a pub than the guy who meets with Morpheus to do just that? The only problem with this idea is Peggy/Jim's story about meeting him in Hob's Leviathan...which i think they would definitely include. But maybe that could be a way for us to see a flashback of them married.

Once we get to The Kindly Ones, we might find Loki taking on Puck's role and acting solo. I still think they could cut the Shakespeare issues to streamline the story. But even if they don't, one trickster is all that is really needed.

Any other characters you think they could merge? I'm all for the speculation, so please share your thoughts!

[orionsangel86]

Every time I write a new meta exploring the Netflix adaptation of the Sandman comics and what they changed, I draw the same conclusion. Even if I don't start the meta even considering that conclusion I can't get away from it. I've been wrapped up in the comic canon for a while now and the comics only have one ending and no other ending is really possible unless you really hyperfocus on Hob's dream. I totally support comic analysis that concludes that the ending is paramount and fixed and cannot be changed. Comic focused meta writers are adament the story must play out as per the comics and I respect that reading.

But then I delve into show meta again and I once again reach the same conclusion: they are changing it. They must be changing it. The show canon doesnt allign with the comics. Its too hopeful, too kind, too supportive.

Maybe too much hope is as much of a bad thing as not enough? There was never any hope in the comic universe. Overture makes that very clear. But the Netflix universe? Oodles of hope. Hope in all corners. Filled to the brim with hope.

I'm completely at a loss and in two minds about it. I'm fascinated and terrified about it. Perhaps we wont even get that far though. Maybe Netflix will cancel the show before we get a chance to see its natural ending. Season 2 could also totally do a 180 on the groundwork season 1 laid down so there is that. I don't know... I'm so confused by it all.

[embracing-the-ineffable]

Good Omens, staying skeptical, and the mystery and the lie at the heart of Gravity Falls

-Neil Gaiman, 29 June 2023

I recently came across this post by @apathetic-revenant, which goes into extensive detail about a whole secret meta lie generated by Alex Hirsch, creator and head writer of Gravity Falls, midway through the show.

It went like this: the show was very focused on mysteries, codes, ciphers, etc, and early on a character discovered a mysterious journal with an unknown author, and this drove the plot. There were clues placed in the show so that people could solve the journal author's identity, or more probably so that it would all make sense in hindsight after the big reveal. However, the show ended up with a larger-than-expected fandom who started organizing online in a way the creators hadn't expected or planned for, and they were worried everyone would collectively solve the mystery too easily, too soon, and the suspense and appeal of the story gradually unfolding would be lost.

So they took a fake BTS photo that appeared to reveal the journal's author and "leaked" it online. To give it credibility, the show's creator posted "Fuming right now" and then deleted the post soon after, once they were certain it had been seen and screenshots taken. The Gravity Falls fandom then stopped trying to solve the mystery, as they believed the answer had already been revealed. It was a solution "targeted toward delaying that group problem-solving, without actually affecting the experience of any individual person watching the show."

Ok, Good Omens fandom. Are we Gravity Falls all over again? Are we also experiencing meta lies?

Is it possible that Amazon's marketing department has just released a new promotional video about Aziraphale & Crowley's "timeline of interconnectedness" (discussions here and here ) where they honestly:

got several of those timeline dates wrong, including labeling the entirety of seasons 1 and 2 as belonging to the same year?

mixed all the season 1 and 2 clips together so they're completely interconnected and out of the order they were presented to us so far?

didn't consult with Neil Gaiman for even a moment to be sure they had their facts straight? (Or literally anyone else who's spent years working on it? Or even someone who has just watched it once while paying attention?)

didn't understand the way most series tell a story by moving through time in a realistic linear fashion?

When Neil said today that "time is fine" in response to questions about the timeline of interconnectedness video, was he trying to misdirect the fandom away from the mystery that's clearly hidden throughout both seasons (and especially season 2)?

The Good Place seems suddenly more relevant than I'd imagined:

Neil has told us that his Tumblr posts aren't canon. He's also said:

"Never trust the storyteller. Only trust the story."

"Writers are liars, my dear, surely you know that by now? And yet, things need not have happened to be true. Tales and dreams are the shadow-truths that will endure when mere facts are dust and ashes, and forgot." -Both quotes are from The Sandman [link]

So here's my plea to whichever part of the fandom might read this: Stay Skeptical. It's wonderful to talk to Neil about his characters, the worlds he's created, his writing process, his views on world events, his sense of humor, his kindness, his compassion and empathy, and his good advice & encouragement for the entire range of the human experience. I respect him very much, and I'm thrilled he's here on social media talking to all of us. (Except he doesn't have social media, obviously. He's like Schrödinger's Social Media Neil-cat.)

I'm looking forward to all the surprises I'm certain are in store for us (and Aziraphale and Crowley) in Good Omens season 3. I trust Neil (and Terry!) to deliver our beloved characters to a very satisfying ending. But I don't trust Neil to honestly answer all of our questions on social media - and neither should you.

Especially not when he's already blamed obvious season 2 changes to the Bentley on the "lighting" (as just one example).

With lots of thanks to the members of the @ineffable-detective-agency - including @bbbitchvibbbez, @kimberleyjean, @maufungi, @noneorother, @theastrophysicistnextdoor, and @thebluestgreen for all their excellent fact-checking, ideas, and discussions!

Interested in diving further into all the Good Omens mysteries? I have more posts plus Clues and metas from all over the fandom, here.

[fireflysummers]

Final Thoughts on GO S2

I'm probably gonna pull back on discussing S2, at least publicly, after this. I did actually like a lot of the season, but it's triggering some of my religious trauma and also the fandom is already stressing me out. So here, let's have some final thoughts.

First and foremost: I am not a Gaiman simp. I've read a decent amount of his work: comics, short stories, essays, and novels. Aside from Good Omens, I've liked Coraline and The Graveyard Book the best by far, whereas American Gods just. Did Not Connect with me, even though it's should have, given the stuff I tend to enjoy.

However. Regardless of whether I like a given work (or even like how he adapted it, a la parts of The Sandman TV series), he is a veteran writer who has proven that he does, actually, know how to write a story with consistent characters.

Beyond that, I do actually believe that he's trying to do right by Pratchett, and loves and respects the story and characters they created together. He's generally shown up as an ally to a variety of social causes, and directly and respectfully responds to fans on Tumblr. While no saint, I feel that there is cause to give the benefit of the doubt that things will resolve satisfyingly in S3, and that there is Intention about some of the things in S2.

This, of course, does not absolve it of being "bad," but even here I think we need to articulate better the different types of "bad" that people are reacting to. There seems to roughly be three camps here: 1) People who thought it was "bad" because of how it ended, with the breakup and a lot of unresolved plot threads; 2) People who thought it was "bad" because it struggled on a technical level with its set, lighting, directorial choices, editing, etc; 3) People who thought it was "bad" because they felt the characterization was significantly off and that the internal logic of the series had been violated.

With regards to Point One, the only solution is to Wait and See. Judgement should be reserved until the story is properly finished--easier said than done, especially considering the current media landscape, and the number of series or franchises that fail to live up to their promises.

Point Two isn't something I understand well enough to contribute meaningfully, except that I suspect the pandemic affected this aspect the most and am willing to give it a bit more mercy. That aside, I for the most part I don't find it bad so much as not as good as S1. Except for the parts with epilepsy warnings, surely there could've been a better way to do that.

Point Three... that's the stumbling block for me, and I find it interesting that most of the folks who struggle with this point in particular are long time fans of the book.

I trust that instinct.

There are two different directions to go from here. The first is the assumption that these problems are a result of ego, carelessness, or lack of skill from the showrunners/writers/director. It's cynical but not unjustified. The second is the belief that the breaks in lore or characterization were intentional, building towards a much grander conspiracy. Of course, even in this case I don't think it forgives the lack of signposting that would indicate that this is a choice rather than an accident. It just makes it feel clumsy and poorly constructed, a major risk on a show that hasn't had its third season confirmed.*

However, regardless, it still feels salvageable. I've enjoyed reading a lot of meta on all this, and I've pulled some things from others (particularly That Theory by @ariaste), but I don't really want to put forth a single, defined theory myself. Instead, here's some questions I've got, why those questions are important (to me, at least). Actual theorizing comes after, and anybody who snidely mentions Sherlock in the comments or tags is going to get auto-blocked. Like seriously, I'm aware that some stuff is a stretch, but it's fun??? To theorize????? And I'm here for me and my peace of mind rather than trying to argue a point.

*I have some suspicions here, particularly with Gaiman stating that the decision from Amazon would come much faster than The Sandman's second season (which was four months). I don't know enough though to say if that's actually significant.

Questions

Who the fuck is telling this story?

This is the most important piece, in my opinion. There's this assumption when reading books (or research papers, newspapers, etc...) that the narrator who is writing the words is a non-presence, Neutral and objective. That's not the case, and an important part of literature critique is figuring out who the narrator is, and what their goals are. Oftentimes, the narrator and the author are the same person, but with Pratchett's work, particularly on Good Omens and Discworld, the Narrator was its own unique character.

This is why people struggle adapting Discworld to live action--that medium requires a Reason for having a Narrator, and especially in the age of method acting that's often considered immersion-breaking. Good Omens worked so well because they not only kept the Narrator, but they made Her God.

This added some really interesting new dimensions, such as the scene where Crowley speaks to God about his fall and the destruction of humanity. He doesn't receive an answer, but we're watching from God's perspective, so we as the audience know that She's listening.

Another advantage of making God the Narrator is that it justifies all the goofy little asides we get into the lives of minor characters (i.e. Leslie the Mailman), without losing focus. It helps the world feel like it’s full of people, rather than characters and plot contrivances, and the theme that individual people and their choices are important. The Narrator is such a central character of Good Omens that without it, the story struggles to stay focused.

It also highlights a key difference in the writing styles of the two authors. Pratchett’s work tends to introduce four or five totally unique plot threads that feel completely disjointed until the last act (if not even later), when it turns into a Chekhov’s Firing Squad. Plot twists around secret identities and backstabbing and schemes are relatively rare, as the omniscient Narrator doesn’t lie about the intentions of people or their actions.

Gaiman’s writing is typically not like that, to my knowledge. He buries characters in misdirection and hints, and you never know the true identity or motives until all the chips are down. It’s a perfectly valid way to approach storytelling, but it makes it jarring to see it in S2. The lack of a Narrator is a huge reason why S2 doesn’t feel like Good Omens to some folks.

My gut feeling is that the decision to shift from the original Narrator was highly intentional. It helps to obscure the thoughts and intentions of people, and it also muddles the insights that we’re supposed to take away. (I would have loved hearing God monologue about what’s going on in Jim’s head. I think it’d do a lot to make him seem less.... obnoxiously stupid.)

More than that, it brings up a reasonable potential plot point of: Where did God go? Why isn’t She present in the story? Even in her early appearance in the Job flashback, she doesn’t sound like the narrator for last season. After the first part of her speech (which Gabriel later quotes), her tone turns casual and condescending, which might line up with her being a bit of an asshole, it doesn’t line up with the whole “dealer of a mysterious card game who is always smiling”).

Also, I don’t think it’s safe to assume that nobody is telling the story either. Just because they’re not making their presence known doesn’t mean they aren’t there, and in a story like Good Omens, that’s concerning.

Wait, where's Satan?

Another person I saw while scrolling the tags pointed out that Satan is nowhere to be seen this season. He's really only mentioned in reference to a bet God made in Job, but then Crowley is the one on the ground causing mischief. There's no Hail Satan among demons (like Hastur and Ligur did at the start of S1).

That's might be because the writers didn't want us to think it was important (a la Hastur), but that feels off. Given that Satan speaks directly through the radio to Crowley in S1, complimenting him on his work, it's safe to say that he was at least aware of and involved in the goings-on in Hell. The fact that he wasn't even an worry for Beelzebub in abandoning their post? Feels weird.

(Also if you know where that post is, I'll happy credit + link)

What is Maggie?

Look, I love cute lesbians in love as much as the next queer, but I don't like Maggie. I don’t think she’s a person. Contextually, she’s a plot device, but I agree with That Essay that she might be an actual Plot Device.

Her characterization is simple and relatively shallow—a bit of an airhead, ray of sunshine that’s supposed to remind you of Aziraphale. When she describes her past to Nina, it’s almost robotic (also, her story implies it was Mr. Fell who first rented to her ancestor, not Mr. Fell’s great-grandfather like Nina implied). Her emotions are over-dramatic and seem to be turned on and off at random (scenes with her crying to Aziraphale about her woes had my “manipulator” senses going off for some reason).

When asked about a song, she not only IDs the song, its singer, and its year, but how and on what it was distributed. (Honestly thought this would’ve been something interesting, because she’s been pretty ditzy so far, it’d be interesting if she had like... an insane memory for music history.) And then she’s the one that sets Aziraphale on his little investigation by giving him the transformed records, while also planting the seed about her love troubles with Nina. Later, her advice to Crowley is... not awful, but feels insincere and a bit too forward, given her own self-proclaimed lack of relationship experience.

I don’t know what she is (a demon, hastur with amnesia in disguise, a literal plot device inserted by the current storyteller, etc...), but there’s something not right with her.

(Also the joke of “who listens to records anymore, it’s so old fashioned” just doesn’t land, lots of people buy records, and I’m saying this as somebody who has worked at a record store before.)

What's going on with Aziraphale?

There’s something Off about Aziraphale, and it’s not his choices at the end of the season. That makes total sense if you read him as somebody with severe religious trauma getting dragged back into the abusive system because other people need him and he’s been promised the ability to change things.

But I do think something is happening to his memory. Nearly all the flashbacks are from Aziraphale’s point of view and retelling, which means that they’re less reliable than God’s version of events in the previous season. Many of them don’t make logistical sense (post-church scene in 1941), depict Crowley as meaner or more sinister than we know he is, or frame events... weirdly. The scene with him trying food for the first time feels Really Bad, especially when the series has previously established that he’s a) prim and proper and b) his interest in food is one of the beautiful things that connect him to humanity, not some kind of gluttonous sin. Also he turns down alcohol.

Their meet-cute at the  start of the universe also doesn’t line up with their reactions to each other in Eden, or the fact that knowing each other Before has never come up or been hinted at anywhere ever. I don’t know what’s causing this to happen, only that Aziraphale repeatedly looks pensive when coming out of flashbacks, and Crowley is never there afterwards to corroborate said memories.

His actions also seem pretty inconsistent with what we know of him—i.e. I refuse to believe he would ever mistreat his books, even if they’re just old encyclopedias. Also, he feels a bit too...forceful in trying to get Nina and Maggie to fall in love? I mean, he didn’t exert that much direct influence on even Warlock, when he was actively hoping that the boy would turn out angelic rather than neutral.

I don’t think this removes his agency in that last decision, so much as explains how he was in such a vulnerable place at all. He still needs to apologize and fix things, because he messed up, and even if he hadn’t he still seriously hurt Crowley.

What's going on with Crowley?

There’s something Off about Crowley. The most obvious thing, of course, is his memories. At multiple points in the present day, characters state that they remember him or have met him before, only to be met with confusion. This is especially concerning given that he has a nigh photographic memory for faces (something mentioned in the book when he immediately IDs Mary Loquacious, 11 years after a 30 second conversation).

Overall, he seems to be better known by other supernatural entities this season, in ways that often tie him back to his angelic identity (i.e. saying they fought together in the war, Aziraphale stating he knew the angel he used to be, etc...). This doesn’t feel right, because S1 we see that Hell is largely apathetic towards his schemes, and definitely does not defer to him at any point in any capacity.

Then there’s the issue of his power level. It’s always been speculated that Crowley was a powerful angel prior to falling, when he mentions in S1 his involvement with star making, his seemingly unique ability to freeze time, and creating a pocket universe for Adam before the confrontation with Satan. He also has a tendency of breathing life into inanimate objects, like his plants or car. He also has the regular demonic skillset: miracles that can adjust physical appearance; the ability to change inanimate objects (like paintball guns into real guns); the ability to manifest clothing and similar items; and summon hellfire to his fingertips. This, plus the way he monologues to God with a degree of familiarity rather than reverence seems to indicate that he was Somebody Powerful and Important Before.

But in S2, his skills are significantly expanded upon. The miracle he and Aziraphale summon sets off alarms in heaven and hell, and it’s powerful enough to mask Gabriel from the Archangels. He summons a miniature sun to rain fire on Job, which is way bigger and flashier than anything we’ve seen him summon in S1. (If he needs fire, he alters the course of a dropping bomb, without creating one himself.)

Yet he’s able to cloak his presence so well he goes wholly unnoticed in heaven, or in front of heavenly agents on earth (i.e. the Job flashback). Muriel can’t clock him as a demon, or even as another supernatural being, despite their auras usually being pretty significant, such Aziraphale immediately sensing the archangels when they arrive.  He’s able to interfere with files that Muriel claimed required clearance (although I feel like that might just be a snark about Obeying Without Thinking? I would really need a Narrator to know.)

I might be misremembering, but I don’t think we’ve seen angels or demons transmogrify living beings before either. In the book, Crowley brings Aziraphale’s dove back to life after the failed magic show, and occasionally sinks ducks, but he doesn’t alter them? Not even Adam demonstrates that skill in S1. But he has no trouble turning Job’s children into lizards, however temporarily. Boy that would’ve been convenient during the flood. Or when the guard stopped then from getting to the air strip.

I might be misremembering, but I don’t think we’ve seen angels or demons transmogrify living beings before either. In the book, Crowley brings Aziraphale’s dove back to life after the failed magic show, and occasionally sinks ducks, but he doesn’t alter them? Not even Adam demonstrates that skill in S1. But he has no trouble turning Job’s children into lizards, however temporarily. Boy that would’ve been convenient during the flood. Or when the guard stopped then from getting to the air strip.

I don’t have any real issues with his characterization in the present day parts of S2, but there’s something weird happening with Crowley.

Where's all the people?

I really like a lot of the new characters, but how were there only like, 2.5 new humans named in the present day? Flashbacks don’t count bc the humans are all dead and can’t affect the story.

As much as I like Nina, she and Maggie don’t drive the story beyond being an occasional and awkwardly inserted plot contrivance? Both are actively robbed of their agency at several points, forced into situations that they could not have avoided or escaped. I’m not really sure what growth they’re expected to experience other than deciding not to date each other after everything. I literally can’t tell you anything about Nina other than that she remembers her regular’s orders, runs a coffee shop, and has a textbook abusive partner we never see. The only meaningful interactions they have are between those two, or in conversation with Aziraphale and Crowley.

Compare that to S1, where Anathema gets hit by Aziraphale and Crowley, but her primary relationships are with Newt, Adam, and Agnes Nutter (I think that counts as a relationship). We know that she’s got a wealthy family back in Puerto Rico, and that she was literally raised to save the world, and that she isn’t happy under all that pressure. Newt on the other hand is connected to not just Anathema, but Shadwell and Madame Tracy. He never even directly interacts with Aziraphale and Crowley. We know about his hobbies, his struggle to hold down a job, and his almost supernatural ability to destroy any electronics he touches. I don’t necessarily like how their relationship came together, but they were both very, very well fleshed out characters with unique backstories and goals. They weren’t just... waiting around to give Aziraphale and Crowley a new questline.

And while there’s no requirement to include a large cast of human characters that are exerting influence over the story, the lack of it is another aspect that makes this season feel not like Good Omens.

Also, it's just. Really weird to me that the events of S1 aren't really referenced at all? Like, Adam isn't mentioned, nor is Warlock. I don't expect them to keep track of the humans they met on the airfield for 20 minutes, but none of it is ever specifically referenced as far as I can tell, beyond Crowley threatening Gabriel. Like, I get that it's been a few years, but the pair caused a big enough disturbance that you'd expect some kind of ripples in their supernatural communities.

Promised by the Narrative (Obvious Chekhov's guns that I will be legitimately upset over if they do not go off)

A sincere apology from Aziraphale to Crowley that doesn't come with the expectation that Crowley will come back to him, but because he deserves an apology, even if the choices Aziraphale made were done with good intentions. Aziraphale does not expect forgiveness, and is shocked when Crowley grants it without hesitation.

A clear declaration of love from Aziraphale, which can't be rationalized away by either of them.

An "I'm Sorry" dance between Aziraphale and Crowley, but with greater sincerity and gravity. The most important piece is that they end up dancing together, which signifies a mutual apology and dedication to come together.

Since kissing is on the table, I expect an actual joyful, mutual kiss between these two assholes.

A shared cottage in South Downs.

Predictions/Theories (just some fun thoughts I've had)

When Adam declared that Satan was not his father, he didn't make himself not the antichrist, but accidentally crowned his human dad the King of Hell. Nobody knows this, because Adam doesn't have a good measure for "normal" supernatural situations, and Mr. Young because he's so "normal" that he explains away all the magical bullshit that's started going down.

When Adam declared that Satan was not his father, he erased Satan altogether. However, this left a vacuum in both power and reality. The defection of both Gabriel and Beelzebub only widens that crack. In an attempt to Fix things, reality is warping the story. Crowley has become leagues more powerful between S1 and S2, as the narrative is trying to force him into the role of his previous boss. Aziraphale is unknowingly being pulled into a similar version on the Other Side, perhaps to replace Gabriel or perhaps to replace God herself, who has been fairly absent in all this. The alterations to their memories or past have come about to keep the narrative running smoothly.

When the Metatron asks Nina whether anybody has ever asked for death, he was actually referring to Death, the sole remaining rider of the apocalypse.

If Maggie is indeed a Plot Device, it would be a fascinating exploration of Free Will to see her become aware of this (cue existential crisis), and then fall in love with Nina on her own terms, rather than because she was written that way.

Hastur will be back. Somehow.

The reason why S2 focuses so much on the supernatural characters is because S3 will be about how the events in S1 have changed the political landscape of heaven and hell. Angels are questioning their roles, demons are yearning for something more. It's scaring upper administration, and then the two most reliable folks in employment run away to alpha centauri. Recruiting Aziraphale and getting him back in line prevents him from becoming a martyr, control the range of his influence. The series reasserts its theme of choice and agency by highlighting that Aziraphale and Crowley aren't that special, they've just had the chance to live and grow, and that the others have free will too, if they want it.

The reason why they wanted to separate Aziraphale and Crowley, is not to get Aziraphale on his own, but to get Crowley on his own. He literally stopped time and made a pocket universe in front of Satan last season. He's powerful and dangerous and somebody wants to see that reigned in.

Wishlist (stuff I desperately want to see)

Crowley getting an audience with God and an opportunity to ask his questions, only to refuse to do so because he's found his own Answers and he no longer needs hers

Aziraphale and Crowley growing more into their book incarnations. Aziraphale becomes confident in his sense of morality, which he developed the hard way through millennia on earth besides humanity. He slowly learns what it means to be loved, unconditionally, but also is better at asserting and maintaining his boundaries. Crowley, still anxious and unwinding, works through his fear of abandonment, providing him opportunities to be kind and gentle and nurturing--all traits that he's aggressively hid since being a demon.

Hand holding. I know that Gaiman was referring to Ineffable Bureaucracy, but I still feel like we'd benefit from meaningful hand holding, especially since that got cut from the adaptation of the book.

Shifted focus away from the supernatural shenanigans, and back onto the humans that actually drive the story.

Cameos from S1 characters (if not a more substantial appearance).

The Four Other Riders of the Apocalypse.

Cursed Thoughts (why I shouldn't be allowed a social platform)

Ineffable Bureaucracy turns up in season 3 because Beelzebub got Gabriel pregnant somehow.

[lucianalight]

Hi! I'm back :) after another long hiatus😅 I have missed all of you❤️

First of all a huge thank you to everyone who were worried and asked about my health and how I was doing. I wasn't doing well tbh. I'm one of those people who had the misfortune of never quite recovering from covid. I already had one chronic illness that was messing up my life and health. Having another on top of that takes a lot of physical, emotional and mental toll and limits my energy greatly. So I needed time to get used to my new reality and condition and learn to how manage it and live with it. It's still a work in progress and doctor appointments are seeming endless but at least some meds are helping. So there's that.

You probably already know the second reason why I wasn't doing well. I've seen terrible things…And you need time to process them. To grieve, to deal with trauma and survivor's guilt, and nurture your anger and keep fighting, keep resisting…

And well, internet connection still sucks so using social media is kind of an ordeal :D

There were a lot of times that I wanted to come back on tumblr but every time some issue would come up and take my motivation and energy. Then two weeks ago, after I couldn't crush the little ray of hope that maybe this time I'm going to see sth I like, I started watching season 2 of Loki. I watched it while promising myself that I'm not going to care anymore if it's bad, reminding myself that I might see sth as bad as season 1. Still I was surprised that I didn't hate it. On the contrary there were moments that were entertaining and even enjoyable. And those moments were more than the ones I dislike. It was better than season 1 and admittedly that's a low bar since I consider S1 one of the worst tv shows I've ever seen, but there were noticeable changes in pace and tone of the narrative and characterization in S2. Some issues in S1 was addressed. Loki was actually the main character of his series and got to do badass magic stuff :D The characters were flesh out and three dimensional and likable(I love OB so much :D). There was no romance. The ending was great.

There were of course things I didn't like. Removing Loki's backstory and his issues with his family from the story is one of them. How some of his moments in past was addressed. The episodes at times got boring or very predictable. There were times that Loki was ooc or comedic moments that weren't delivered well.

It wasn't perfect but at least acceptable. And probably the best Loki content we got since TDW. And I liked the ending a lot. I found myself keep going back to rewatch some scenes. I found myself analyzing the content happily. I had things to say. So here I am :D basically I'm 100% back to my Loki bs and I'm making it everyone's problem :P

Whether you loved the series or hated it, you're welcome on my blog and you're welcome to send me your opinions and engage with me in discussions and metas. I will tag posts accordingly in case you want to avoid certain content(tbh I still don't know what the new tags will be because I haven't written anything yet but I will make a post when I do).

There will be posts of some new fandoms so block their tags if you don't want to see those posts. The new fandoms are Sandman tv show(I haven't finished the comics so plz don't spoil them for me), Wednesday, My Hero Academia, Shadow and Bone, and The Bifrost Incident.

As I mentioned above I'm dealing with multiple chronic illnesses and have a limited energy each day. I will try to answer your messages, comments and asks as soon as I can but it might take a long time. Sry about that.

And finally a warm welcome to all the new followers and thanks to everyone who are still following me❤️

[so-i-grudgingly-joined-this-site]

“I tried so hard, and got so far, but in the end, it doesn’t even matter”:

The Awkward Meta-Tragedy of Neil Gaiman’s The Sandman

In which I thoroughly (over-) analyze the ending of this classic work in seven parts, with perhaps gratuitous references to 2000s pop music thrown in. The introduction and links to subsequent posts are below:

[Note: a link to a google doc containing the whole essay will also be at the end of this post, if you'd rather read it in that format instead of clicking links to the separate pages]

Introduction

                I was warned that Neil Gaiman’s book series The Sandman was a tragedy.  A post on tumblr, circulated not long after the successful Netflix adaptation’s first season released, warned new fans to not get their hopes up, to understand that the books were a Literary Tragedy to be taken seriously, and not to get carried away with fun cutesy shipping without the knowledge of what the source material would be like.  However, the post carefully, and helpfully for those hoping to avoid spoilers, did not say in what manner the books constituted a tragedy.

                So, when I first came to the end of the final installment of the series, I was shocked.

                This was not like any tragedy I’d expected.  And it felt… icky.  It felt incredibly, shockingly, pessimistic.

                Needless to say, massive, MASSIVE spoilers from here on out—you have been warned.  Also content warning for discussions of depression, suicidal ideation and suicide, mentions of misogyny, and mentions of transphobia.

                Also note that this isn’t intended as necessarily negative towards the original work, but more about the common fandom interpretation of it, as well as acknowledgment that, for better or worse, it is “of its time” and doubtless going to come across differently to a modern first-time reader.  Also, this is just my own interpretation, I’ve been told I tend to interpret things pessimistically, and I’ve only just read the books as of 2022, so I in no way position this as a definitive analysis, nor even necessarily a correct one.

Continue to:

Part 1: Tragic, but not a Tragedy… Unless you get weird about mental health

Part 2: Hob Gadling—How to win by doing nothing?

Part 3: “Façade”—So much foreshadowing, so little time

Intermission: A Midsummer Night’s Dream

Part 4: Damn Daniel, Back at it again with the (symbolic) white vans

Part 5: “It sure is exhausting always rooting for the anti-hero”: Should We Even Care?

Part 6: “I reject your reality, and substitute my own”: Maybe There is Hope After All

UPDATE: I have also written a "bonus chapter" of this, focusing on Season of Mists, HERE

Tagging those I believe interested: @duckland @roguelov @notallsandmen @lizajane2 @ambercoloredfox

@serenityspiral not sure if you want to read this before you finish the books, because this is literally about the ending and it might kinda ruin the experience if you're completely spoiled

@onehundredandeleventropicalfish I'm gonna be bold and tag you and hope I'm not completely wrong