#thank you neil for giving us crowley

[crowleyholmes]

🌙🌌🪐✨I am never not thinking about him✨🪐🌌🌙

[tumbld-out-of-my-bed]

Can we actually just take a minute to thank Neil actually? He DIDN'T HAVE TO give us the Apology Dance or the dance in the Ball or the Bentley scene or Angel Crowley or them sharing an armchair or the continuation of the Blitz Scene or any of it, really, but he did. Thank you, Neil.

[neil-gaiman]

Hi Neil! Go2 question here

I noticed in the flashback to Edinburgh, when Crowley asks Aziraphael about the contents of his wallet, he gives his answer in Guineas (apologies for not remembering how many), despite Guineas being replaced with the Sovereign during the Great Recoinage of 1816.

Is he using "Guinea" as a unit of account (As in the total value his wallet contains is equal to the value of the number of Guineas mentioned, as was common amongst the Victorian aristocracy) or does he genuinely still have Guineas in his wallet from when they were in use?

I'm just curious as coins are an area of interest for me, and love when they get brought up, shown, or mentioned in historical contexts.

Thank you very much for answering! (if this gets answered, I realise theres a bit of a flood at the moment)

Guineas were long gone as coins. But they persisted as the way that "gentlemen" dealt with money until 1971. Tailors, for example, always billed in Guineas, even when I was a small boy.

[melbatron5000]

The Big Damn Kiss

Buckle up, my fellow Good Omens Ineffable Mystery Puzzlers, Crackpotters, and Assorted Brainrotters, because I learned something HUGE yesterday.

This will be a bit of a long post, because I want to show you exactly how I got where I am. I want you to understand. I want to put all the naysayers to bed (ha! But I'm still gonna try), and settle this once and for all.

I know (almost) exactly what Crowley gave to Aziraphale during the kiss.

DO NOT TAKE ANY OF MY THEORIES TO NEIL! PLEASE!

Okay? Okay. Thanks. Shall we begin?

Ahem.

Firstly, whether you believe me or not, I am 100% certain that Crowley did, indeed, give something to Aziraphale in his mouth during The Kiss. I've covered that in the link previous. Okay? Okay.

I did not know what it was. I've now heard theories that it was a bullet (nope), a ball bearing (nope), hellfire (nope), and no one, NO ONE has suggested what I see. (If you have, hello! Talk to me!)

Here's our first foreshadowing Clue:

And here's our next foreshadowing Clue:

And the next:

And our last Clue:

With me so far? Well, that first GIF is a bit off, I couldn't find one of Crowley actually spitting out the flies. But he does. When Beelzebub first drags him to Hell, he actually goes "Pleaugh!" and spits out four or five flies. Edit: Found it!

Moving right along, we come to Crowley in Heaven with Muriel, looking at the trial. We learn two important things here:

One, Gabriel doesn't have a desk.

Two, Muriel does. Where they keep the records. And it's a bit lonely. Every few hundred years, someone comes and asks for something. Muriel can't access the sensitive ones, you have to be pretty high up. A throne, dominion, or higher. Like, maybe Supreme Archangel?

So if Gabriel doesn't have a desk, whose desk is he at when he's getting ready to leave Heaven? Of course I can't find a damn picture of Gabriel at the desk, but it's Muriel's. Where they keep the RECORDS.

Gabriel puts his memory into the fly, then gets on the elevator to go to Earth.

Now, when Gabriel opens the fly with his memories inside, we find out that it's a container. Bigger on the inside. You can put thing(S) in it. The bit we see of him remembering is shot in two parts, one where he's flying down a red tunnel, one where he's flying down a blue. If you slow this scene down and watch, you can see that he is NOT looking at just his own memories. There is more going on here, more that he was not present for. @embracing-the-ineffable put up a great meta about that here. Go look!

Now I figured Gabriel must have taken something else. Something important. Something useful. Something he meant to give to Aziraphale, except he forgot.

I also figured he must have left whatever it was in the fly when he took his memories out. Crowley must have realized while watching the trial footage that Gabriel also grabbed something else. I don't know when Crowley grabs the fly, but he does. And that is what he gives to Aziraphale in the kiss. Why? Well.

I had no idea what Gabriel took until I started working on the chiastic structure of season 2. I'm not done with that analysis yet, but let me show you one thing that I have found so far:

(The numbers are just to try and help me navigate the story and its events without time stamps)

My note #357 of what happens isn't quite right, but when I saw the only two times Aziraphale says "I forgive you" are towards the beginning of Season 2 and towards the end, I realized I had something.

Rephrase line 357: Crowley's kiss is forgiven IN EXCHANGE FOR RECORDS.

(Not that I think Crowley's kiss needs to be forgiven. It's just what Aziraphale says, and had to say at that moment, because the Metatron was listening in.)

What does Heaven in Good Omens remind us of most of all?

A big corporate entity. And what do powerful people do when they get fired from a big corporate entity? They download all their emails while they're cleaning out their desks. Damning emails. Emails that can be used to black mail or even destroy big corporate entities. Or, ya know, maybe they swipe some sensitive RECORDS?

Oh yes.

Records that Gabriel meant to give to Aziraphale, but he forgot. Records that Crowley realized Gabriel had put in the fly. The fly that Crowley grabbed once Gabriel had his memory out. The fly that he gave to Aziraphale when he kissed him. The fly that no longer held Gabriel's memory, but did still contain those damning records.

Here's Aziraphale reading the records:

Here's Aziraphale being horrified and outraged by what he's reading:

And here's Aziraphale realizing he has got some GOOD DIRT on Heaven. Maybe enough to bring them down:

That's it folks. I have no idea what the records actually say, and maybe we're not meant to know until season 3, but whatever it is, it's GOOD.

That's my story, and by God Herself, I'm sticking to it.

[embracing-the-ineffable]

Ineffable discontinuity and the Bentley's roadtrip transformation: new back doors and other changes (after it was yellow), and Crowley... didn't notice?!*

*Also, as a side observation, did he leave the Bentley window open during the ball and everything that happened after? Why?

Have you been longing to be even more perplexed by the ineffable discontinuity of Good Omens season 2? Do you love endless data in the form of screencaps? If so, then please join me on this wild ride! Here are some highlights:

Top photos: Season 1, episode 6, after Adam reboots reality; S2e2, before Aziraphale's e3 road trip. The Bentley is a gray and black 2-tone car with 2 doors (only 1 handle is visible on each side).

And on the bottom is s2e5, while Crowley is driving, it's a solid black car with 4 doors and smaller silver hubcaps.

(edit: For those of you thinking about the different Bentley models used in s1 vs s2 (discussed in detail below), or the difference between the full car and half car set, just those three full car pictures above demonstrate that the new s2 Bentley model is NOT the reason for this mid-season shift. For more details about the half car set plus other ways to tell the Bentleys apart - without talking about color - see my newer post with handy diagrams, here.)

And the s2 interior?

Here's e1, after Crowley talks to Shax, and e3, as Aziraphale arrives in Edinburgh (which is also when the Bentley debuts as a 4-door). And look at this blocking - how both characters are posed so similarly with their backs to us in these shots!! It's so deliberate! :

And look at the seats! In e2, Crowley is talking to Shax again, and in e5, Crowley just parked the Bentley before the ball:

When Crowley, who is so tuned in that he senses the car is yellow and driving too slow even from a distance, sees the "new" Bentley in e4, he doesn't act as though anything has changed, he just happily and purposefully walks up and opens the back door that was never there to put his plants inside.

THE BACK DOOR THAT WAS NEVER THERE

For that matter, Crowley and Aziraphale both seem to be unaware of the changes! This feels like both a metaphor and a functional plot device for season 3. There's more discussion at the end of this post!

Thanks to comments and observations awhile back from @bbbitchvibbbez , I did some careful searching for s2 scenes featuring the Bentley, and this post is the labor of love and irrational obsession result!

If you want to see lots more Bentley screencaps and discussion, including Crowley nonchalantly using the new back door, and possibly also leaving the Bentley window open during the ball and everything that followed, please keep reading:

Some background and context:

Ok, so there was a different Bentley "actor" for s2. The s1 actor was a 2-door, the s2 actor is a 4-door. If you look carefully, you'll see that in s1 the backseat side windows are smaller than the front side windows. In s2, they're the same size. I talk more about the windows - with handy diagrams! - in my newer Bentley post, here.

There's also been some controversy about the interior color of the s2 Bentley, black vs brown, and how that could relate to the s2 body swap theory; here are details about that from @lonicera-caprifolium and @picturesque-about-it. I don't think my findings support (or disprove) that theory, but take a look at what I found and see what you think!

(*Please don't ask Neil about any of this, he's already given us the answers he wants to give, and he's not going to spoil the surprises in s3 now by telling us what's really going on!*)

Here's the episode/scene breakdown:

S2e1 on the street with Shax - gray, two toned, two doors (one visible door handle on a side), brown interior - both the seats and the inside panel of the door. Notice how the door is hinged at the back, and opens opposite the way most modern cars do (this is called a suicide door):

More s2e1 photos, the Bentley is in a lot of scenes this episode and as far as I can tell it stays the same gray 2-door for the whole episode, but it's frequently in dark lighting to make it harder to tell it isn't actually black (I've brightened most of these shots). It also has larger silver hubcaps, and I notice consistent brown seats (these interior pics are from three different scenes):

In s2e2, the Bentley is only in two scenes, and it's the same as s2e1. Now, you can see in the larger photo below that it's obviously not the SAME as s1 - the backseat side windows are too long - but the production team DID try to make the new Bentley "actor" look the same as in season 1. It's a gray 2-tone car with 2 doors (1 handle visible on each side) with larger silver hubcaps. As an aside, what's with the red lights on the car in this shot?? I mean, yes, it's a reflection of another car's brake lights, but why put that onscreen?

Also, in case it's relevant, Crowley is wearing his turtleneck throughout this episode, and still has the silver-sided glasses from e1:

Ok, now we have s2e3, and as Crowley meets Muriel and gives Aziraphale his car keys, we see he's no longer wearing the turtleneck, AND this is when his glasses change to black-sided ones:

Outside, we see the Bentley looks the same as the rest of s2 thus far, as Aziraphale sets off for Edinburgh. Gray 2-tone, brown interior (with window bullet hole decals very visible), with larger silver hubcaps. There's only one handle visible, so it's still meant to look like a 2-door:

Ok, here's where things start to change! Azi is driving and the Bentley is yellow. The seats might (?) be black, there's still only one door handle on the side, the silver hubcaps are still larger. But when he "changes it back", NOW it's black:

And by the time he pulls into Edinburgh, Transformation Complete. (Did Something Else Happen?? Or is this an effect of Aziraphale finally being welcome to take care of this extension of Crowley? More speculation at the end!) It's a black 4-door, two handles clearly visible on the side, with smaller silver hubcaps:

And the interior? The door panel, at least, is black now - and it has a texture that wasn't there when it was brown. Here's e1 next to e3 (and appreciate, again, this very intentional parallel blocking of the two actors!):

In s2e4, we see the Bentley in two scenes; at the beginning when Aziraphale meets Shax-as-hitchhiker, where we see the bullet holes and the black door lining, and at the end when the Bentley is reunited with Crowley:

When Aziraphale parks the Bentley back at the bookshop, we see the bullet hole decals and that it's still a black 4-door:

So he goes to meet Crowley, they come back with the plants. We can see that the camera is to the rear of the car, and the front of the car is to their left. They're standing on the left side of the car. If Crowley opens the door, we won't see the interior door panel, right? Because the Bentley doors are hinged on the back, instead of the front, so the door will open towards us:

WELL. Mx "I can feel when you drive below the speed limit" and "change it back!" Crowley very eagerly walks up to the BLACK car, greets it with some sweet baby talk, and then opens the suddenly-existing BACK door with a hinge on the front (so it opens away from us) as if this is All Perfectly Normal, and we can (barely) see the door lining and it's BLACK and textured:

A few more shots of Crowley, standing at the brand-new back door of the Bentley, still wearing those black-sided glasses:

And in case you're wondering, in s1e2 when Anathema gets a ride in the Bentley, she climbs into the backseat from the front driver door, and she climbs out through the front passenger door. There wasn't a back door on either side. Here she climbs into the Bentley, and you can see Crowley fold down the front seat, and there's clearly only one door on that side, and it's hinged at the back. (When she gets out on the passenger side, it's harder to see, but you can tell that door is also hinged at the back.) :

In s2e5, Crowley drives the Bentley to the bookshop, and then we only catch a few small glimpses of it while Aziraphale is recruiting shopkeepers to the meeting/ball. Here's Crowley driving the black 4-door Bentley with small silver hubcaps, and here he is getting out of the car with black seats. The front door is still hinged at the back, as it always has been. The window is open - his hand is reaching through to open the door - so we can't see the bullet hole decals:

The next time we see more than a hint of the Bentley, it's the end of s2e6 and Crowley is standing next to it, watching Azi leave with the Metatron. It's still black, with 4 doors and black seats and smaller hubcaps. We don't see the bullet hole decals, but perhaps the window is still open from when he parked it in e5? (And WHY would he leave the window open? Was someone supposed to come by after he parked it to deliver something to the Bentley, or take something out?) Emotional photos ahead:

I over exposed that last picture, to make the colors really easy to pick out. The seats are absolutely, definitely black.

So... what does it mean? Why did it happen, and why didn't Crowley notice or react?

I love the metaphor that Aziraphale subconsciously created a back door for - or into - Crowley, especially with all those references to the "back channels" of communication between heaven and hell. I'm thinking it could represent - or actually be - another way for them to communicate, or like another entrance to his heart; it's something that Aziraphale doesn't realize he changed or added and that Crowley hasn't noticed yet either, even if he's making use of those changes on some level. I'm sure other metaphors could also fit!

And I'm reminded of something @theeminentlyimpractical said, "Crowley, despite his whining, fully accepts the idea of "our car," which fundamentally transforms the Bentley". That post was liked by Neil, so there could definitely be something to this "our car" transformation line of thinking.

So, was the transformation a subconscious effect of Aziraphale finally being welcome by Crowley to drive the Bentley, and caring for and taking responsibility for this part of Crowley? Or did Aziraphale consciously do this, or did Crowley? Or maybe the Bentley is sentient, and it chose to be bigger/different now, to accommodate both of them. Or did the change happen in response to Something Else We Didn't See?

Is Crowley's (and Aziraphale's) apparent non-reaction another example of an unreliable narrator or some memory tampering? Is manipulation of the Book of Life involved? Are there multiple timelines? Is someone time traveling? Or is it just that Aziraphale and Crowley already discussed the changes off screen, before Aziraphale left Edinburgh?

If Crowley noticed the changes, I would have expected a comment about them. Either, "change it back!" or a reluctant, "those are changes I can live with", or... Something. But instead, the production team went to some trouble to make sure the hints are there, but hard to spot (you can review the similar, careful s1 hints about the appearance swap here, from @fuckyeahgoodomens); as opposed to, for one example, the way they very clearly pointed out Maggie's mysterious spelling mistake, both on screen and in the dialogue. So I feel reasonably certain the Bentley's transformation is a careful, subtle hint about a Secret Something Important That Will Be Revealed In Season 3. I think it's both a metaphor and a plot device*.

What are some of your favorite metaphors? Your most reasonable theories? What about some of your biggest, wildest, most improbable theories?

*And if you enjoy Good Omens metas, theories, clues, etc, I have a big pinned collection of those from the fandom, here!

[mrghostrat]

Hello and good morning/day/night :]

I was wondering, in BNF, we’ve gotten tiny little bits of information about the ‘Nice and Accurate Prophecies’ (not sure if that’s the correct title, sorry) book and TV series, if there was anything else you could tell us about it?

Character names, storylines, plots, any fun details you may have made up or otherwise, etc, etc.

I just think it’s sweet how interested both Aziraphale and Crowley are in the series, and if you might be as interested, if not more, in it too.

Thank you, and have a lovely Sunday. 🫶

this is it, my leash has snapped, i'm wild in the streets, thank u for asking; i'm gonna go be insufferable now

(hi @neil-gaiman if you see this, i think it's safe to read, but it does border on being fan fic. i'm writing a fic where crowley and aziraphale are an artist + writer in an online fandom, much like we are for good omens, and this is the fake story i've made for them to be fans of 💛)

The Nice and Accurate Prophecy

info dump of the fake 5 book series by Agnes Nutter (1985-1992) and its fake fandom:

The Nice and Accurate Prophecy

The Strange and Improbable Prophecy

The Vague and Perfidious Prophecy

The Tense and Harrowing Prophecy

The Faint and Ineffable Prophecy

a dramatic, layered story with a bizarre and unexpectedly lovable cast of characters, humour that hits you out of nowhere, and a lot of attitude from the narrator. a la Good Omens, A Series of Unfortunate Events, Hitchhikers Guide to the Galaxy

fantasy/historical fantasy and mildly action & romance

a la good omens, a witch and a witchfinder become friends and help each other throughout history, despite being on opposite sides. they get closer as they fight against the immoral plays from their prospective sides (the witchfinder army and a demonic cult the witch was born into) that each lose sight of their core values in a bid to hold more power over the world.

the story is set primarily in a medieval fantasy era, but suddenly jumps to the present in the later books, catching everyone off guard and giving a whole new context to enjoy the story. the challenges they face parallel the earlier story but in a modern take with modern technological twists. the modern era is the late 80s, since that's when it was written.

the witch reincarnates, similar to doctor who, due to a high class black magic ritual they performed in their arrogant youth (which they were NOT supposed to have access to). they've had long lifetimes where they die of old age, and others where they've barely managed to live a year. their reincarnations aren't entirely random; they will reincarnate according to their growth and preferences as a person (a la Magical Boy's magical outfit generations), which includes fluctuation in gender identity. their pronouns fluctuate depending on each "face" they wear, but have canonically been a "they" before. the good side of the fandom (crowley & aziraphale) default to they/them as an overall rule. they do have a name, but they like to change that too, so the fandom almost exclusively calls them witch, or witchy.

the witchfinder also has a name, but the fandom have taken to calling him witchfinder to match the fact that witchy is called by their role. it also helps that a lot of the witchfinder narration refers to him by role instead of name. he is human, 30ish in appearance, but at the end of the first book, the witch fears to lose him and curses him with immortality against his knowledge to try and keep him safe.

witch is crowley-coded, witchfinder is aziraphale-coded. my to-do list includes an illustration of the two of them played by michael and david :') but i picture them being kind of like newt and anathema for the most part.

ship names include witch/finder, witchwitch, w² or witch², and witchfound.

at the start of the first book, they meet and become friends without knowing each other is a witch & finder. the witchfinder is a bit bumbly, like newt, and the witch is cool and suave but neurotic and insecure like many human au variations of crowley (major overcompensation vibes). witch is male at the start of the first book. their friendship is secure when witch finds out he's a witchfinder, so there's less "oh my god i'm friends with the enemy, is he going to kill me in my sleep?" and more "ah fuck, Lets Drink About This"

there's battles, horseback riding, camping out in dark woods, disappearing and losing each other for months at a time, and many missed connections as they try to work together against two common enemies, whilst keeping up the facade that they're on their respective team's sides.

there's charged chemistry in the first book, but it's more plot heavy. there's hints of shippy moments in the 2nd book that fall in between the plot. there's a Moment of almost confession in the 3rd book, and a non romantic kiss towards the end (we gotta, for neil). they're pretty much married in the 4th book, securely at each other's side, but never actually talk about it until the end, and there's a more explicitly stated shippy connection in the 5th book.

agnes herself is a total recluse who drops books out of nowhere then goes back to existing somewhere in the english countryside (people presume). she's happy to supply signed copies to fundraisers and conventions, and sometimes random bookshops across the country will be vandalised with genuine autographs on the inside covers. she's notoriously pedantic about being involved with adaptions behind the scenes, but she has no social media and isn't ~around~. she once did a talk when she was presented with an honorary doctorate, and did a single book signing when the first Prophecy book came out, but beyond that she keeps to herself.

there are a small handful of quotes from her in behind-the-scenes footage talking vaguely about character intensions and clarifying world building, but she likes to leave things up to interpretation like neil does. it's in these few snippets of interaction we've seen from her that she's steadfastly supportive of intersectionality and lgbt rights, like staring dead-eyed at an interviewer when they ask her a ridiculously heteronormative question about the characters (like "have you read my books?")

adaptions include:

(most adaptions start like the book, with a male witch at the beginning that turns into a female witch when they first regenerate. the early ones usually change the pacing by switching to a female actor by the time they realise witchfinder is a witchfinder, unlike in the book where he's male for this scene, and there's way less Charged™ chemistry between the m/m witch/finder.)

Feature Film: late 90s, kind of cheesy, but good spirited fantasy (a la Indiana Jones). focuses on the first book alone, with hints to a sequel that never happened.

Abandoned TV Pilot: early 2000s, a little too dramatic but still a good time (a la the Dungeons and Dragons 2000, ASOUE 2004). good source of gifs and Moments™ but the fandom is generally Fine with it being abandoned.

Stage Performance: late 2000s-early 2010s, a stellar stage adaption of the first book with elements of the 90s movie. f/m witch/finder the whole way through. one cast used m/m actors but it was a short run and only a handful of fans were lucky enough to catch or remember it. crowley would give his left arm (or someone's, anyway) to have experienced it, so a fan sent him some flip phone camera footage of it that he keeps on a harddrive in his safe.

HBO Streaming Series: late 2010s-present, high quality, highly revered, resurged the fandom's popularity and spread the series further overseas. made in america, but doesn't try to americanise the series. extremely respectful to the books, with easter eggs to the film, and is working its way through the entire book series (a la The Witcher netflix series). f/m witch/finder, but has had one episode that included some flash backs/montages of different witch faces. probably like 15 minutes total screentime of a male witch played by a ncuti gatwa level/style of actor, which the fandom has giffed, edited, and screencapped to oblivion.

Several bonus books: Agnes has written a few extra books (a la The Unauthorized Autobiography of Lemony Snicket and The Beatrice Letters), as well as curated some anthologies from other authors (a la A Study In Sherlock). there are a total of 3 anthologies so far, in which other authors have written stories about the characters in their own tellings. basically like canonised, published fan fiction, curated and authorised by agnes herself. There's also an unfinished graphic novel that retells the book series (a la The Adventure Zone comic), but has been WIP/unheard of since the 3rd book.

[somehow-a-human]

GO Filming Tidbits - Lens Filters

DO NOT ASK NEIL ABOUT FAN THEORY

After reading through this lovely article, which Neil shared and specifically mentioned, has many secrets in it, I was definitely drawn to the descriptions of the different filters used to characterize people and locations in the show so I decided to do a little digging on them and their effects! I think it's so interesting to give characters their own filter, a lens for which we're seeing the world through their eyes! So let's take a look at the three filters mentioned in the article below:

Tiffen Bronze Glimmerglass - Bookshop Scenes The bronze tint provides additional warmth, and softens skin details and blemishes, it gives a slight reduction in contrast for a more ethereal image appearance.

The bookshop scenes look warm, & hazy. You might think of the look as a bit of a sepia effect. There are soft halos around light fixtures and the filter provides a warm toned pop to yellow, gold, and orange colors. This filter is really helping give the bookshop its cozy, safe, and welcoming vibe.

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Tiffen Black Pro-Mist - Hell This filter reduces highlights and lowers contrast, softens wrinkles and blemishes, and creates a soft quality of light.

Very similar to the Bronze glimmerglass, the Black Pro-Mist filter provides scenes with a very intense 'hazy' effect, but we're missing that warm tone that you see in the bookshop. It makes hell seem cloudy, like maybe you haven't quite wiped the last bit of sleep from your eye, or the air is just so thick and gross that its visible. Fitting for hell. We also see the effect when demons attack the bookshop, and whickber street becomes a green hazy hellscape.

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Tiffen Black Diffusion FX - "Crowley's Present Day Storyline" Diffuses strong light entering the lens and produces a glowing effect, the resulting image appears soft and ethereal, there is little loss of clarity or detail and the image does not lose saturation.

This filter was the most interesting one to me for sure. First of all "Crowley's Present Day Storyline"? Why not just Present Day Storyline, or Crowley & Aziraphale's Present Day Storyline, or Whickber Street's Storyline? I know we're already questioning timelines and narrators so that wording definitely made me raise my eyebrows. The effect keeps the shots very saturated, compared to the others we've been introduced to, and very clear, but there is still a magical ethereal quality to the picture. I think the effect is painfully obvious in Episode 1 scene of Shax and Crowley meeting on the park bench. No shortage of people have pointed out how saturated this scene is, and now I think I know what filter to thank by name.

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[weirdly-specific-but-ok]

pt XIV good omens season 2 (still not traumatic) episode 2

Here we go. It might not have been traumatic, but it has made me utterly in love with a fictional character. Great.

While everyone runs around between episode 1 and 2 to use the loo or fetch emotional support fruit, in preparation for my inevitable gay panic for Crowley, I eat an emotional support banana as the intro sequence plays.

I realise too late that bananas remind me of fellatio.

The episode begins. There are incoherent screams of BILDADDY through the chat. The phrase religious fervour and ecstasy comes to mind. I do not say it.

God and Satan are betting on a poor bloke so his goats and kids are going to be dead, Crowley has a permit to wreak havoc, Aziraphale is scandalised.

Gabriel's angel hair is very Lord Farquaad. Everyone agrees.

Jimbriel is determined to make his new dad proud, and rearranges all the books in alphabetical order of the first letter of the first sentence. Aziraphale struggles to compliment him.

CROWLEY LIVES IN THE BENTLEY. I'M READY TO RIP THROUGH REALITY'S FABRIC TO GIVE THAT IMMORTAL SOME LOVE AND AFFECTION. AND OF COURSE HE STILL KEEPS ALL HIS PLANTS AND HAS THEM IN THE BACK. @neil-gaiman WHY MUST YOU CAREFULLY CRAFT BEAUTY THAT BREAKS ME.

Anyway.

NO NOT ANYWAY I'M STILL RAGING BUT WE HAVE A SUMMARY TO DO AND I'M A FUCKING PROFESSIONAL GODDAMN IT.

Angels are assholes. Jimbriel is very supportive bookseller's son.

The shit-job subtlety attempt last episode was very powerful because TOGETHER THEY ARE STRONGER! *unicorn music*

Aziraphale strokes Crowley's chest. The fandom sobs.

Crowley suggests getting humans wet to make them 'vavoom' and the apple falls from my slack jaw mid bite.

Aziraphale and Crowley are shit at interpreting human media.

Job storyline. If I open my mouth I'll start scream-crying about how Crowley didn't even kill the goats. He had both heaven and hell's permission, orders from God and Satan, and he didn't even kill the goats. Anyway no we're not doing this now thanks.

Crowley introduces Aziraphale to food. Aziraphale goes ham on the ox rib while Crowley has a little spring awakening about his kinks. I eat my other emotional support banana in honour of the blowjob angles.

Crowley didn't even want to reveal that he'd saved the goats to Aziraphale even though Aziraphale was looking at him with betrayal, because it was for the goats and he wanted to-

Sorry. I'm so fucking normal about goats.

David Tennant and his son are having a HECK of a time.

All Crowley wanted to do was ask questions and christ if he isn't angelic who is he put goats' safety over his-

Bildaddy is the best cobbler and obstetrician. Gabriel is an idiot.

Back in actual time, Crowley gives up on Aziraphale mid-flashback and they saunter off to facilitate some lesbian romancing.

OUR BOOKSHOP. OUR CAR. PLENTY OF USE.

Boundaries, Aziraphale, please. Someone reminds us that the Bentley is all Crowley has left. I fill with preternatural RAGE again.

Aziraphale poor baby has a crisis over betraying heaven. Crowley comforts him even though Crowley fell so every defence of heaven is an attack to himself. I'm totally normal and start eating my emotional support kiwi.

Still eating my emotional support kiwi when the episode ends. Crowley says Aziraphale is too pure and angelic looking to be a demon which means that she doesn't see how pure and angelic she was while making the stars, she thinks she was marked in some way, imperfect. It is okay for her to fall, not Aziraphale.

Anyway yes summary all done.

BUT THE GOATS. CROWLEY DEFIED HEAVEN AND HELL FOR GOATS. AND-

END END THE SUMMARY NOW.

[caramel-cream50]

Dude so I’ve rewatched GOS2 multiple times but my dad finally got around watching it and we decided to watch the finale together and oh my god

Okay so everything’s normal, he’s focused and quiet the whole episode until the kiss scene, i look over and I SWEAR I SEE A TEAR as soon as Crowley says don’t bother he starts rubbing his eyes like crazy

Keep in mind my father never cries. I’ve only seen him cry like twice on my entire life.

Then as soon as the credits roll he goes “oh my god that was so sad…we really need a third season now cause like oh my god”

So like 1 @neil-gaiman thanks for making such an amazing show you made my FATHER cry and 2 @goodomensonprime GIVE US SEASON 3 AND PAY YOUR WRITERS/ACTORS

[ineffable-suffering]

Why Aziraphale is an unreliable narrator

Part 3: The Story of the Magic Show in 1941

Let me at first put a small index for you here, since this is a three part meta and you might want to read the posts that precede this one:

Part 1: The Story of Job

Part 2: The Story of wee Morag

... and now: Welcome to the final Part 3! We made it! Or well, we will have, soon-ish. Because let me give you a fair warning: This one is definitely the longest one out of the three. And by long I mean literally almost 5k words long. Mainly because there's a lot to work with since the 1941 minisode is less mini and more the entirety of S2E4 and also, in my opinion, needs a lot more context than the others. But! That shan't discourage me, as I am currently stuck in bed with a bit of a sore throat, a steaming cuppa tea and an entire afternoon to spare.

So, for the third and final time in this meta series: Let's get cracking! Under! The! Cut!

I shall spare you another summary of the points I have made so far and, should you not have read or remembered them, I kindly redirect you to the end of Part 1 and the beginning & end of Part 2, where I summarize most of it. Don't worry, the link to this post will be in both of them, so you can hop right back once you're done!

On commence with some needed context.

I think one of the most important things to point out at the very beginning here, is that unlike with the other minisodes, we don't have a direct indicator that this is once again one of Aziraphale's memories or diary entries. In the Story of Job, we see him read the part in the Bible and actively immersing himself into the flashbacks (so deeply, even, that Crowley leaves in between, since Aziraphale seems to be so intensely lost in thought). And the Story of wee Morag is being narrated to us by past Aziraphale's diary entry.

All we see before the start of this episode's minisode, however, is Aziraphale driving the Bentley before Shax unconsensually hitchhikes with him and then leaves again. The title squence rolls and we're in London, 1941. And once the minisode ends, it's also not with Aziraphale looking like he just remembered something or a shot of his diary, but instead with present day Shax going to Beelzebub to request permission for the attack on the bookshop and then Aziraphale arriving in Soho, back from his trip to Edinburgh.

It's safe to say, therefore, that these two somehow indicate why and when the 1941 flashback starts and ends the way it does. And they do! You just have to listen and look closely, because the hint of whose memory this is, is a bit more subtle. Let's take it bit by bit.

Shax reveals herself to Aziraphale, catching him off guard. ("You have the advantage on me." "I do, yes.") She then go on to introduce herself as "former admissions demon" and ...

"Now, a Hell's ambassador planner, potentially plenipotentiary* to this corner of the planet. Replacing the demon Crowley."

*(Thank you for pointing this subtitle error out in the comments, @odonataanisoptera!)

At first sight, this might seem like no new information. We already know this, we have seen Crowley and Shax talk multiple times, we know Shax is Crowley's hellish successor and we know Shax now lives in Crowley's flat in Mayfair and, due to that unfortunate circumstance, Crowley in his car. You know who doesn't know this yet?

That's right: Aziraphale!

Neil himself confirmed that the reason why Aziraphale hasn't yet asked Crowley to move into the bookshop is because he doesn't know Crowley is living in his car! Which also indirectly implies that he hasn't told Aziraphale yet that he's no longer Hell's representative on Earth! Massive communication issues aside, this means that four years after Armagedidn't, Aziraphale is realizing for the very first time that Crowley is no longer officially employed by Hell.

Which is quite big news! We don't really know what Aziraphale's exact state of employment is with Heaven, but we do know from Crowley saying so (to Shax, again) in S2E1, that they no longer talk to him and he no longer reports back to them about his work. We can therefore deduct that he isn't actively operating as Heaven's ambassador on Earth anymore – on Heaven's own volition.

After they pulled off their body swap stunt post Armagedidn't, Crowley and Aziraphale of course secured themselves some temporary freedom from both Heaven and Hell. But it was only ever that, right? Temporary. Crowley says so himself at the end of Season 1: "They'll leave us alone ... for a bit." Sure, they were both sort of free to do whatever they wanted, but up until this very moment in the Bentley with Shax, Aziraphale thought he was the only one out of the two of them who had not only been let off the leash a little but also, so to speak, let go from his former employment. Which really explains his genuine, surprised look once Shax lets him know she's officially Crowley's replacement.

Their body swap trick gave them some breathing space, yes, but that's still entirely different than actually officially being let go from your job obligations and duties. What Aziraphale doesn't know either, however, (because again, Mr. Anthony J. Can't-Communicate-Crowley hasn't let him known), is that despite having been replaced and technically absolved of his hellish duties, Hell still very much relies on and demands things of Crowley. And also that Crowley himself hasn't been able to drop his weariness and worries since he still seems to seek out any and every information he can get on what's going on in the Up and Down. David Tennant said in an interview about Season 2:

"[...] interestingly, when we first meet Crowley, he's on a park bench catching up with the person who's taken his job. He obviously can't quite let go. He still wants the updates, and he still wants to know what's going on."

There's just so awfully much Crowley isn't telling Aziraphale – but that's stuff for another meta.

Either way, it eeks me a bit that we don't certainly know how much and what exactly Crowley has told Arziraphale about Shax – but it clearly can't have been all to much, since the Bentley conversation is their first encounter and Aziraphale doesn't even seem to know what Shax looks like, let alone that she's Crowley's new replacement. Crowley must have mentioned her to Aziraphale at one point or another pre-S2, because he does name-drop her when Aziraphale is about to reveal the appearance of Jimbriel ("You'll never guess who Shax was asking me about").

But it's one thing for Aziraphale to know or deduce that Hell might still occasionally send someone (like Shax) to check in on Crowley and another thing for him to not know that Beelzebub still summons Crowley whenever they feel like it, trying to coerce/blackmail him and that Shax regularly follows, even threats Crowley and lives in his goddamn apartment because she now fully replaces Crowley in his former job.

So, to sum this up: Aziraphale just received quite a bit of news Crowley withheld from him until now, but is also still lacking some other context that neither Crowley nor Shax has given him yet in order to be aware of the full picture.

Now, you're probably wondering: What the f*ck are you on about, OP, what does this have to do with the memory and narration analysis that this whole meta is supposed to be about? Well, dear reader, I'll kindly ask you to just hold onto that thought I outlined here until a little later. Tuck it in your pocket, don't worry, I'll remind you to take it out again once it's time.

Despite looking clearly incredibly surprised and, what is is again– ah, yes, flabbergasted upon hearing of Crowley's replacement, Aziraphale only reacts with a short "Ah", trying not to give away the fact that this is indeed very much news to him. He then continues to try and deflect anything Shax is saying and suggesting about Crowley. Except for the part where Shax says that she doesn't think Aziraphale seems like Crowley's type at all. And I cannot, for the absolute life of me, keep that GIF out of here, so:

God, how I adore you, Mr. Sheen, master of immaculate microexpressions.

Alright, let's move on from the brief flash of sassy angel, onto what Shax says next. Because this is the crucial part:

"You know ... what, sometime in the last 80, 90 years I remember hearing that you and Crowley were an item. I didn't believe it then. Not really. Poor old Furfur. He thought you were his ticket to the big time."

Which Aziraphale replies to:

"I'm afraid I have no idea what you're talking about."

But you do, Aziraphale, don't you? Of course you do. How could he forget the time he almost got Crowley caught together with him by Hell ("Fraternising!") in what was probably one of their most insane and turbulent adventures (that we know of, at least). And now he knows that Shax knows about it too! At least some of it, because she used to work together with Furfur and was the one who pushed him to do his investigation in the first place.

We end their little Bentley encounter with Shax getting out, cryptically saying "You've already told me where Gabriel is" and Aziraphale hurriedly speeding off back to London.

I'd like to briefly point out that according to Google Maps, Edinburgh is almost an 8-hour drive away from London. Of course we don't know where exactly Shax semi-grand-theft-auto'ed into the Bentley, but it's safe to say that since it's still dark when she does and Aziraphale arrives in London when it's light out and morning already, he must have at least been driving for another couple of hours. All by himself, with nothing to think of other than a) Crowley never having told him that he's been relieved of Hell's duties and –– you guessed it –– b) what happened in 1941.

And here's where it gets interesting: It's not just Aziraphale who's remembering 1941. It's Shax, too. It hit me like a ton of bricks, once I realized. Shax is the one who brings up 1941 and Furfur's mission to get his promotion. So everything we see that happens in Hell, with the Nazi spies being processed, are Shax's memories. Obviously Aziraphale couldn't have known or remembered any of that. But Shax could! And she does. Because this entire minisode is their shared memory of it, stitched together with the parts both of them actually witnessed.

And alas, here you have it: The reason why it makes so much sense that this minisode is so much longer than the last ones and also happens right after Aziraphale's encounter with Shax. They both were just very much reminded of what went down all those years ago. And they're both thinking back on it to come to some sort of conclusion. And funnily enough, it ends up being the same one – but I'll get into that in a bit too.

Aziraphale's got time to kill in the Bentley. A few good and long hours alone, with the knowledge of Crowley's and his own sort-of-newly-found freedom at the back of his mind. (Crowley! No longer bound to Hell! Himself! No longer bound to Heaven! Blimey!)

What else would Aziraphale think of, if not the time he realized, after the demon had saved his precious books, he was utterly and irrevocably in love with Crowley. And what else could Shax think of on her way back to London, if not the time Hell almost got proof of Crowley and Aziraphale being "an item", putting one of her colleagues onto investigating it and only now, decades later, coming to realize that it was true after all – giving her the confirmation that there was only one place Crowley would hide Gabriel while Aziraphale was gone: the Bookshop. Aziraphale's bookshop. Because if there's any demon that would have unrestricted access to it, it would be Crowley – as Shax has just now realized.

Let's just say it's no wonder that this minisode is about to be an explosion (pun intended) of all the things we have seen and realized about how Aziraphale capital-r Remembers things (ft. a bit more behind the scene knowledge, provided by Shax). And yes, it took me this absolutely ridiculous amount of time and words to get to the actual beginning of this minisode. But I'll be as bold as to say that you'll thank me for it because if there's one thing all of this teaches us, it's that context is so very important for memories and decision making.

... let's continue!

Title sequence: Rolled. London, 1941: Begins. Nazis in the church: Bombed. Books: Saved.

(Aziraphale: in Love.)

Right away again, the title card for "London 1941" looks like an old black and white film, similar to the retro hue and colouring of the Job episode in S2E2. We see what we saw already in Season 1, with the bomb dropping and Crowley saving the books. What we didn't know is what Shax's memory will now show us: How the Nazi spies were processed in Hell. And how she offered to help Furfur with being promoted if he could get her some intel on "some demon being up to no good."

I have yet to fully take my time to take a closer look at Shax, but I think she's a lot more competent and smart than Hell gives her credit for (similar to Saraqael in Heaven). How else would she have gotten word of A Certain Suspicious Demon while she was still an admissions demon herself. Or figured out simply by Crowley's Bentley not being at the bookshop in S2E3 that Aziraphale must be the one who'd currently be driving it somewhere. But okay, I really don't want to divert too much from my own plot here, so let's jump right ahead into our next scene: Aziraphale's first memory in this minisode.

I'm just gonna play Captian Obvious for a second here: There's literal sparks flying in the air. Red, firey, passionate sparks. And an angel looking like this:

I'll just let the imagery do the talking.

Now we have that love-birdery out of the way: I was at first going to once again call bullsh*t on the timeline our dear smitten Aziraphale is giving us here. Because I thought: "You're really gonna try and tell me that while there was an actual Blitzkrieg happening just down the block, the girls playing Ladies of Camelot had nothing better to do than to happily perform at the Westend like nothing out of the ordinary had happened?"

But the answer is ... yes. Yes, they literally had nothing better to do – because they were still performing! I chastised our dear angel too soon, because lookie here:

(Source: https://en.wikipedia.org/wiki/Windmill_Theatre)

I indeed didn't know that the Windmill Theater remained open during WW2 –– but it did put a smile on my face that the article specifically mentions it remaining open even during the hight of the Blitzkrieg. Neil, you clever man!

Also, one last nugget of appreciation: Aziraphale most definitely having no clue what sort of performances actually happened at the Windmill Theater (in case you don't know, just check Wikipedia for a sec), exclaiming "Sophocles! Shakespeare!" and Crowley simply going "Something like that" just warms my heart infinitely.

Fondly thinking about Aziraphale asking Mrs. Sandwich: "What exactly is it that your girls do?"

Another thing that seemed strange to me at first, that I think I also managed to semi-debunk, is the fact that Crowley's Bad Deed of that day seems to have been to deliver 80-percent-proof alcohol to the Windmill Theater. It made me frown and go: "Huh? I don't think alcohol was illegal in England in 1941?" However, upon googling around a bit, I think it might actually be not so much about the alcohol itself, but who it was given to. Which, in this case, is the American soldiers frequenting the nude shows at the Windmill Theater. All I could find were some books and essays, one of them titled "The Wet War: American Liquor Control, 1941–1945", as well as this short abstract of a paper that seems to talk about how American soldies consuming alcohol while at war/stationed abroad for WW2 were frowned upon by US Army chaplains because "the impact that alcohol would have on the men's moral well-being".

So, it would make sense for Hell to send a certain alcoholic temptation to one of the dens of temptation itself – the Windmill Theater. Enter Anthony J. Crowley, your local Nazi-church-bomber, book-saver, angel-seducer and alcohol-smuggler. (Albeit that last one sort of failing a little. Sorry, Mrs. H.)

(Sidenote: @createserenity gave a lovely and very plausible explanation of the whole alcohol delivery and also who Crowley's character design might have been based on in the comments of this post!)

Aziraphale then of course jumps in, offering to be the magician of the evening to repay his "good friend" (sideye), waving around his little handkerchief like an excited little boy. ("Ah, the ✨theatér✨!") We also get the first zombie!Nazis content, which I believe is probably a reconstruction of what the zombie!Nazis told Furfur once they met up with him again and what Furfur then probably told Shax once he failed his mission. Brains eaten, we continue to this glorious line:

He's just so very excited and giddy about it all – and I think that's partly because he a) just realized that Crowley loves him (and he very much loves Crowley too) and b) because Bentley!Aziraphale who is remembering this, probably remembers it even more fondly and giddily. We've seen his emotions bubble over a lot more during the other minisode-memories – so it only makes sense that in this one, he's remembering himself to be almost out of his mind with happiness and excitement about Crowley the magic show.

Remember what I asked you to tuck into your pocket?

Take it out again. Go on, there's a love! Because what is it that Aziraphale realized mere moments ago during his conversation with Shax? Crowley is free of Hell.* (*and remember, he doesn't know that that's not entirely true because no one told him the rest of the facts. So yes, we know it's not quite as simple – but Aziraphale doesn't.)

For all of S2, he has been trying to bring his relationship with Crowley to a new, more domestically intimate level (our car!), confidently and potentially even a bit carelessly ignoring the still-very-much-there threats of Heaven and Hell. I think one of the things that might have still been holding him back in his attempts to get to the next base (huehue) was the fact that he thought Crowley was still actively employed by and tied to Hell.

In all of S2, Aziraphale does come across as a little bit blinded by his desire to finally be with-be with Crowley (rose-tined glasses obstructing the view and all) but he's not completely carless. He knows Hell to be way more cruel to their employees and has always been careful to not get Crowley into too much trouble by being associated with him. But now he has (a little falsely) deducted that Crowley is in fact no longer in hellish demand – and isn't that just absolutely tickety-boo! Lacking the context that we, the audience, have, Arziraphale.exe is currently running hot on: Heaven and Hell don't care about Crowley and me anymore! We're free of our employers' interest in us and the threat that used to bring!! I've been trying to lock this serpent down ever since the World didn't end – and now I finally can!!! I'm We're able to do whatever I we like which is to finally confess to Crowley!!!!

From Bentley!Aziraphale's point of view, this is the literal green light on their highway to Alpha Centauri! Metaphorically, anyway. More like their country road to the Southdowns. And, for now, the M1 to London– back, back, back to Crowley!

For a minute, I did wonder about why he doesn't seem at all worried or stressed once he arrives in London after his journey. After all, Shax did very clearly threaten him and insinuated that she already knew where Gabriel was. But if you look at Aziraphale all throughout Season 2, it's so very evident that he's completely occupied with being soppily nostalgic of all the memories he recalls of him and Crowley and, even while facing off with Heaven and Hell again, seems oh too happy to ignore all that because he only has eyes for one thing.

Need I say more?

So, of course, realistically Aziraphale should probably be worried and weary of what Shax said (and maybe also a little taken aback by the fact that Crowley never told him any of this). But oh, isn't the world just that much lovelier when you look at it through shades of yellow and rose? And ignore everything else because if you only look at what you want to look at, both you and the serpent of your dreams are finally free to be together? So, of course! Azirapahle should be so! Very! Concerned! But instead, he is so! Very! Happy!

Both back in actual 1941, after Crowley saves his books, as well as in his memory of the story, aka in the current present day – which we don't get to see until he leaves the Bentley, but then it does show.

And it shows even more while he's still remembering 1941:

Crowley doing an American accent? Oh, that must have been so funny and charming, look at him slapping his thigh, unbuttoning his jacket, leaning back all suavely and watching me– I mean ... the Ladies of Camelot.

There's this excellent meta by @cobragardens I read on the colours of red and yellow in this 1941 minisode as well, which further makes a point of how red is clearly Crowley's colour in Aziraphale's mind – and it's so, so vibrant in this memory specifically. Poor angel has really got it bad for his beloved book-saving demon.

I'd also like to point out Aziraphale's tendency to exaggerate again, both when it comes to others and himself. We see this in the other minisodes as well, and here again, when he seems almost overly-clumsy, dropping those big trick-rings twice, making a tower of cards topple over and then dropping even more things on the counter. This is probably just a bit of a projection how he might have been feeling about performing as a magician: Slightly nervous, trying to overplay it and yet very keen on getting it right.

Crowley seems to always just be watching silently when memory!Aziraphale is acting a little out of character – possibly because there was no actual reaction from him since these slightly overdramatic things weren't actually this dramatic in the first place.

Another thing I would very much take with a grain of angelic memory salt, is one of the Nazi zombies actually walking into the shop while Crowley and Aziraphale are still in there. First of all, that would be pretty bold of him/them, given there's only three people in this tiny shop. And second of all, don't you think it's odd that neither Aziraphale nor Crowley would notice a literal undead person sauntering into the shop? I'll give Aziraphale the benefit of the doubt, since he's currently on cloud nine. But Crowley? How on Earth would he miss that?

Unless the zombie never actually went into the shop, put on silly costumes and rings (because given their track record, in my opinion, goofing around is a very un-Nazi-like thing to do) and it's just what the autopilot of Aziraphale's daydream is playing in the background, to fill in the gap for how the zombie!Nazis figured out where his magic show would take place. Because as we already saw, Aziraphale is a bit, well ... busy in that moment.

This GIF is not sped up, by the way, that is indeed the absolute astronomical speed Aziraphale shook Crowley's hand with when he agreed to pretend to shoot him on a live stage. He's my favourite. Of all time.

Alas, the curtains at the Windmill Theater draw aside, ladies and gentlemen: Enter Fell the Marvellous!

Firstly, I would like to point out that Aziraphale is literally being surrounded by all things Crowley – the red curtain to his back, the red and black feathers to his left and right and, well, literal Crowley in the audience to his front.

Just another little ode to how beautifully this whole minisode is done colour-wise.

If you read Part 2, you might remember me saying that how and what Aziraphale is feeling is actually translating directly to what we, the audience, are shown through cinematographic and auditory clues. And this very same thing happens here too. Its starts around the minute mark of 28:31. Right after Aziraphale realizes that his miracles aren't working and he still announces the bullet catch, introducing Crowley, you can tell that the whole frame starts to shake every so slightly.

At first, it's extremely subtle and you could possibly wave it off as simply being filmed with a hand-held camera. However, the further we progress into the bullet catch trick scene, the more the frame starts shaking.

I have taken the liberty to make a little cutdown of how this intense shaking progresses, so that in case you never noticed it before, I can spare you the time of going back to watch it for yourself.

It might be a trick of the eye but it even seems like the edges of the frame grow blurrier the closer the actual firing of the gun comes. And I don't think I have to tell you what feeling this is trying to convey. Anyone who's ever had a panic attack would probably describe it exactly like that. At least I would.

Everything is shaking because Aziraphale was most certainly out of his mind with fear and adrenaline. He wants to do this, he has to because he needs to show up for Crowley the way Crowley showed up for him at the church – but he's also literally risking being discorporated for good. And once again, we feel his panic, we feel like just like it's our own blood pumping through our veins, just like when we ourselves are shaking with fear. Because this is his memory. And a memory of such a tense and dangerous moment takes a long time to feel less scary.

Once they successfully pull of the trick, the shaking stops, of course. Fell the Marvellous nails his second trick by stealing Furfur's picture, the Nazi!zombies wander off to Satan knows where and we get another one of Shax's memories when we see Furfur not getting his promotion. (Almost makes you feel a little sorry for him, poor bugger.)

I don't have much to say about their romantic red wine candle light boogaloo, apart from the fact that it makes me want to punch holes in walls with how smited smote smitten Aziraphale looks at Crowley the entire time. And also there's this awfully sweet post about Crowley deciding to still sit and drink with him despite not knowing yet that Aziraphale had stolen the evidence picture.

HE IS SO IN LOVE I AM GOING TO SCREAM–

Back to reality, whoa, there goes gravity (as we plummet down to Hell).

Because remember: While most of this was indeed Aziraphale's memory, some of it was Shax's as well. And I'm pretty sure she knows most of what went down that night. After all, Furfur was most definitely the one who caused the rumors of Crowley and Aziraphale being "an item".

So, while Aziraphale was in the Bentley, indulging and revelling in his love-struck memories of the night he almost died* (*discorporated) twice and managed to survive both times because Crowley was there and trusted him, Shax also thought back on all of this since it was the final nail in the coffin that confirmed to her that Gabriel was hiding in the bookshop with Crowley.

So, what's the conclusion that both characters have come to during this very long flashback? It's simple:

Aziraphale loves Crowley. And Crowley loves Aziraphale.

There's only one person Aziraphale would trust with Gabriel – and that is Crowley. And there is only one place that no other demon would have access to except for Crowley. And that is the bookshop. Shax knows this now. Which is why it makes so much sense that once we're back in present day!Hell, she immediately requests a legion to attack the bookshop. Because she knows this is the only place Crowley and Aziraphale both consider safe from the outside world, and the only place Crowley would have access to because Aziraphale loves trusts him. Reflecting back on it, 1941 confirmed to her that they have been and still are the item everyone suspected them to be.

Clever, clever Shax!

As for Aziraphale: It's less of a conclusion, to be honest, and more of a reassurance, an affirmation of sorts. As I pointed out in my horrendously long context introduction, Crowley no longer working for Hell is exactly the push Aziraphale needs to finally feel like it's possible to make his move and confess to him.

And what does that news- and memory-induced realisation look like? This:

Ah yes, what a lovely day to confess your millennia-long love!

Too bad Crowley's not really up to speed yet and Aziraphale's rose-tinted little moment is met with:

... a face-full of plants. Whelp.

It's okay, they'll figure it out eventually.

My final little sidenote: The Jane Austen Ball and why it wasn't about Nina and Maggie

By all means, if you're already sick and tired of my tangents, do feel free to just skip this and end the meta early. I hope you had a good time with it, let me know your thoughts!

And for those of you who are up for a last burst of tinfoil-hatting: My conclusion to all of this is that I am 100% convinced that the whole Whickber-Street-Association-turned-Cotillion-Ball stunt Aziraphale pulls off in the next episode, was never actually meant for Nina and Maggie.

Why? Because up until getting a mouthful of plants once he arrives back in London, Aziraphale hadn't even known yet that Crowley's awning of a new age under the canopy had failed! The last time they spoke was over the phone in Edinburgh which ended with Crowley hanging up on Aziraphale to go make the love mission happen. And yet, Aziraphale clearly already has the whole ball thing planned out once he arrives in Soho, because he already calls it 'a night to remember'.

So, riddle me this: Why would Aziraphale plan this whole over-the-top romantic Jane Austen Ball on his ride back to London to make Nina and Maggie fall in love if he didn't even know yet whether or not Crowley's attempt at it had been successful or not?

It's almost like he meant for it to be his ideal way of a romantic confession for someone else.

'member the pub scene in S2E2?

Aziraphale: "People would gather and do some formal dancing and then realize they had misunderstood each other. And were actually deeply in love!" Crowley: "Now that sounds unlikely."

Resolving a deep misunderstanding like, hm, for instance, your "de facto partner" not telling you he'd been let go by his toxic employers just like you and also your quarrel about you wanting to protect your former-asshole-turned-cottage-core-dad boss from your own former toxic employers? With ✨a ball✨? (And that being, well, really unlikely to work? Oh, deary-dear angel. Oh, Aziraphale. Be still, my beating heart. You're a soldier for trying, I'll give you that.)

Are you goddamn done yet, OP?

Yes. I am. The tinfoil hat defense rests. I'm aware this was less focused on the actual unreliable narration and a bit more on contextualizing memories and feelings with decision making, deductions and actions – but hey, the road to epiphany has many winding paths. Or something.

Once again, here are Part 1 and Part 2 and if you made it this far: Congratulations, you have reached the end! Thanks for baring with me. I hope you enjoyed the journey just as much as Aziraphale did his daydream in the Bentley. And if you and me both feel strong enough for it, I might see you around in a cheeky little Epiloge to this meta series!

(Also: @dancingcrowley asked so nicely for me to tag them once Part 3 came out, so here you go!)

Cheers!

[hretoprvdthepltnx]

Hihi !! Before i request I just love your writing so much and I couldn’t resist to request this!!

Could I request a teen! Reader (angel) who’s sees crowley & aziraphale as their parental figures who is trying to make something nice for them?

The reader is super silly and innocent so like the stuff they make look like something else 💀

Handmade

Ineffable Husbands x teen!angel!reader

Summary: Y/n wants to do something special for their favorite angel/demon duo. So, they try their ethereal hand at the human art of crafting.

Content: y/n uses they/them pronouns, improper use of miracles,

Note: Anon, you're such an absolute sweetheart. I appreciate you so much. Unfortunately, I didn't realize what you meant by 'something else' until after but hopefully you still enjoy the fic.

Rating: 14+ || 500+ w.

Gifts were important. Gifts were a way of expressing profound love for an individual, at least that is what Aziraphale had taught you. Gifts meant a lot; they were a language all their own. Gifts meant I love you.

Gifts were hard.

You stared at the heaping pile of crafting utensils Maggie from the record shop had leant you. There were a lot of options and she had even been kind enough to make you a list of ideas, the only problem was that none of it seemed quite right for Aziraphale and Crowley.

You stared at the felt and the streamers and silently willed yourself to come up with an idea, but nothing happened. Sighing, you sat back with your shoulders pressing against the side of Aziraphale's desk. It was lucky that they were out, the sight of you sitting on the floor surrounded by confetti might raise an alarm. Or perhaps not, you were prone to floor sitting.

You tossed your head back against the leg of the table and the telephone jingled with the bang. Perhaps you should call her and ask for her help, but no, this was your idea, and it would make it even more special if you did it yourself. There had to be something you could make.

Your eyes drifted to a stray bottle of silver glitter and stayed there, staring with such mindless intensity it was a miracle the tension didn't cause the bottle to bust. Miracles. You could use a little miracle of your own right about now.

"Wait," you sat up too quickly, dizzying yourself, and snatched up the little plastic bottle of glitter. "If it's only a small miracle, and one for good, then I can't possibly get in trouble for it. And it's still like I'm making it myself, because I am." A smile stretched wide across your face, and you turned to the plant in the corner, "This is going to be perfect."

Hours later, when Crowley and Aziraphale arrived back at the bookshop, there was a notable difference to the building. That being because the entire inside of the bookshop had turned into a Victorian style ballroom. "Right, well...what's all this?" You beamed at the demon from where you stood in the center of the large room. "Suprise! It's a gift!"

Aziraphale's face went from something sad - which you had luckily missed - to something proud and beaming. "A gift, yes! And, oh, how wonderful!" Crowley didn't look quite as convinced. However, he perked up quite notably when the record player you had been fiddling with started to play Queen's Somebody to Love. You offered a hand to both fellow angel and the demon in front of you, "Care to dance?"

"Why certainly!" Aziraphale answered for the both of them, whatever complaint Crowley had been about to give died in his throat as he was yanked along. As you danced, you made a mental note to thank Maggie for the record next time you saw her. Perhaps you might even thank her with a gift.

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story by hretoprvdthepltnx©

Ineffable Husbands/Good Omens copyrighted by Neil Gaiman©

[di-42]

The Wait-And-See stage has started again thank Go... Sat... someone, and we know Neil is not going to give us any spoiler. But we forget that he's already told us the most important thing of all, over and over. He has told us that everything is going to be ok. And we know he's a Demon and he lies but, like our favourite (former) Demon he might lie but he keeps his word. He has told us everything is going to be ok and he has told that he chose 3 of songs in the ineffable playlist, one of which, he has told us, is The Book Of Love (I've got goosebumps just by writing that song title here). He told us long ago that he imagines Aziraphale and Crowley retired in a cottage in the South Downs. He's told us that he'll get us where we need to be, so don't worry, just enjoy the ride. The ride will be a roller coaster, the ride will make you laugh and will make you cry, the ride will have incredible highs and unbearable lows, the ride might break you. But it will get you there, and when you finally get there you'll be made whole again and the new whole you will be more than the sum of the broken parts. Like a gentle parent telling their child to not worry, it can be scary but it's worth it. Like a friend encouraging us to savour every moment without worrying of what lies ahead. Because what lies ahead will be ok. We just have to enjoy the ride that gets us there.

[neil-gaiman]

Hi, Neil! Thank you for helping a writer in distress with your craft. Here is what I mean:

To be honest with you, I started watching Good Omens on a lazy Wednesday night. And prior to that, I didn’t know anything specific about it — except that it was a really good, entertaining TV Show. My friend wouldn’t stop screaming about the finale of S2, but I’m sure you understand.

And so I binge-watched it in the span of a week. With every episode, I fell a little bit more in love with your beautiful world and characters. By the time I also finished it, something was forever changed in me. (No exaggeration).

You see, I have been struggling to write for a year or so now. Words used to flow to me easily, ideas as well, but I woke up one day and I couldn’t find them anymore. No matter how hard I tried. And I love to write fanfiction, I grew up reading it — all the love poured into things we already cherish very deeply. After S2, I had this urge to give it one more try with Aziraphale and Crowley (I hope that’s fine with you!), and I wrote for a whole day. Just a minor take on them, yet it made all the difference. I haven’t stopped writing ever since.

So. . . Thank you again, for reigniting whatever it is that dimmed inside my head. I will never forget it.

I'm proud of you!

[aziraphales-library]

Hello! First of all I absolutely love everything you all do for the fandom, so thank you! Secondly, I was wondering if you possibly had any fics that are cowboy-centric/set in the Wild West? Preferably not E rated, though anything is fine really. Again thanks so much!

Hi! Here are some wild west cowboy fics for you...

White Wings by HipHopAnonymous (T)

Years after their disagreement over procuring holy water, Aziraphale and Crowley cross paths in the American Wild West. Aziraphale is still prickly, but willing to lend Crowley a hand with a temptation. Unfortunately, things go south quickly, and they find themselves in over their heads.

Two Horses Passing in the Night by D20Owlbear (G)

Crowley is a bronc rider. Aziraphale is a skilled calf-roping, southern dandy. This is how they meet.

Secrets Over Saloons And Saddles by bread_isyummy (NR)

It’s 1892, Aziraphale has traveled to the west, the promise of new books pushing his curiosity. By extraordinary chance he is reunited with his hereditary enemy. They share a few drinks and a moment they both swore to never speak of.

run across the river (just to hold you tonight) by hope_in_the_dark (T)

In which their first kiss happens differently (and they have five percent better communication.) Based on that one ask where Neil said he meant to give us a Wild West flashback but couldn’t because of budget reasons.

Gods Gonna Cut You Down by Wanderingsilvan (T)

Trouble is stirring in the Wild West which unfortunately catches both Heaven and Hell's interest. To respectively remedy and worsen the situation they both call upon their agents on Earth, neither of who have any interest in going to the Americas and traveling through the dirt, dust, and cowshit. Unluckily for them neither of their head offices particularly cares about what they do or don't want to do.

West of Paradise by castielrisingabove (T)

After a life as one of the most feared outlaws in the wild west, Crowley is met with one of his greatest challenges yet: asking his dearest friend, Zira Fell, to run away with him. That's already a tall order, but Crowley's about to find something else on his plate: the afternoon keeps repeating. Can Crowley find the right way to make his dream come true, or is he doomed to ask this impossible question forever?

- Mod D

[riaria93]

Aziraphale’s Guilt, Crowley’s Rank and How it Plays into the End of Season 2

So everyone’s talking about Aziraphale’s religious trauma or the coffee but I want to talk about why specifically he believes it’s a good idea to ask Crowley to return to Heaven as an angel. To do that we need to go back to the start.

Aziraphale meets an innocent, enthusiastic angel Crowley who is happy simply creating the universe. And then here he comes and crushes that innocence in his mind, telling Crowley that it will all end in 6,000 years and that his work means nothing. Crowley starts to question, thinks he can makes suggestions to God. Aziraphale tries to stop him but fails. Their first meeting ends with Crowley saying not to worry and asking how much trouble he could get into for asking questions. Because unbeknownst to Aziraphale this isn’t an ordinary lower level angel but an Archangel, possibly a Prince of Heaven, who believes he can makes suggestions, who believes others will listen to him when he tries to say “No”. But it doesn’t and it ends with a Fall and the same realization as Gabriel that nobody will listen.

Meanwhile Aziraphale meets Crowley through the next 6,000 years and sees the angel he first met inside the demon. During the events with Job Aziraphale even says “I know the angel you were.” Crowley replies “The angel you knew is not me.” Aziraphale holds that guilt of causing Crowley to Fall while Crowley knows it’s the whole institution of Heaven and Hell that’s the problem.

So they both see the best and worst of each other over the years and they start and stop Armageddon. The Gabriel fiasco happens and they see it’s possible to be together. And Aziraphale wants it so much but would Heaven really leave them alone after everything.

Then the Metatron comes with an oatmilk almond latte and an offer that seems impossible. He can become Supreme Archangel of Heaven. He can change Heaven and make it GOOD. He can make it worthy of Crowley. He can make that suggestion box that Crowley wanted. He can make it so they’re never hunted again. He can let go of that guilt of causing Crowley to question and Fall. Crowley won’t ever have to go through that again with him in charge. They can be together and that bright-eyed angel he remembers can return.

But it’s all a scam. He doesn’t realize he’s being used to start the Second Coming until right before he steps into the elevator, or that Heaven WANTS to separate him and Crowley, If Metatron didn’t threaten Crowley’s existence. But I don’t think he did. Because it’s only Crowley who really understands that Heaven was going to use Extreme Sanctions, who saw the file on Gabriel and their plans and more than that, possibly has first-hand experience of what Heaven will do to even a Prince of Heaven who tries to stop their plans.

“I don’t think you understand what I’m offering you.”

“I understand. I think I understand a whole lot better than you do.”

Crowley does indeed understand so much better. He’s seen the memory wipes, possibly experienced it. He’s been forced to Fall. He’s watched Heaven try to kill his angel with Hellfire.

“We don’t need them. They’re toxic!”

Aziraphale believes that if he can fix Heaven that guilt he felt will go away. He can make a Heaven worthy of Crowley, the Crowley who saved goats and children and helped a young woman at the expense of being in trouble with Hell. Crowley hears this and thinks Aziraphale only wants a him worthy of Heaven.

“Oh Crowley, Nothing Lasts forever.”

Aziraphale means that he’d give everything up to be with Crowley. Crowley thinks that means Aziraphale would give even him up for Heaven. This time though, unlike with “Exactly” neither of them pick-up on the other’s different meaning. Because they don’t actually talk to each other,

It’s a tragedy. And there’s so much more I can get into. But it’s so beautifully written. @neil-gaiman Thank you for this amazing show.

[mrghostrat]

"He needed an internet connection so he could download an app to draw with, but the whole point of setting the thing up in London was because he knew Crowley understood all of this a whole lot better than he did."

Okayyyyy I just got violent flashbacks to the s2 finale this is evil 😭😭

But in all seriousness, I LOVED the new bnf au chapter, I mean the kiss??? I audibly gasped, it was soooo good

I was wondering if the witch and the witchfinder are a canon couple in the nice and accurate prophecies? Or are they just a very popular fanon ship? Or is it like good omens, where people saw the romantic subtext in the book and where it was made explicitly canon in the show?

I just think all options would be really interesting, given that Crowley and Aziraphale are both middle-aged queer people and the book came out thirty years ago. So they either would have had some representation back then, or they recognised themselves in the story and even though it wasn't canon, maybe those ideas would later explicitly be confirmed by Agnes Nutter nonetheless? Since all these options have really interesting implications for the way they both interacted with the source material, I'm really curious what your thoughts on the matter are.

Thank you so much for all the beautiful things you create for the fandom, both your fics and your art give me life and I'm so grateful for them ❤

omg you have no idea how excited i am about this question 😭 as i've written BNF, i've been quietly fleshing out more about their fictional fandom, and accidentally gotten reeeeally invested and am dying to talk about it 😭😭

i'm actually tempted to make some fanart of the witch & the witchfinder, using michael and david as facecasts to go full meta thphptftf. in b4 i write it as a fuckin book series for real

buttttt i'll put all my N&A thoughts under a cut so i dont ramble too long on your dashes 💛

The Nice and Accurate Prophecy: Agnes Nutter's book series (turned play, turned film, turned tv series); the fandom in my fic Big Name Feelings

the idea of using Agnes Nutter's "Nice and Accurate" book for the in-fic fandom was taken from @tawnyontumblr's fic New Messages (i just thought that would be a fun fanon consistency to follow), but all the details about the story and characters are me.

N&A takes inspiration from Good Omens (as a story, and as a fandom) but isn't intended to be a direct copy of it. the original paperback series is a few books long, and each adaptation of the books are considered good, accurate, canonical content. the tv show (a HBO series) is the most recent, highest quality, and most popular. The Witcher style, high fantasy quality.

agnes is loudly supportive of the lgbt community just like neil/david/michael are. but i imagine that for the series to be so "marketable" over the last 30 years, there isn't an explicit queer relationship between the witch & finder. there are canon queer side characters but the witch & finder are a little more nuanced.

the witch and the witchfinder aid each other through time, working together to defeat the evils in the story (like Aziraphale and Crowley from GO). there's tension between them, but boundless love, and plenty of flirtation, despite the running "we shouldn't, we're meant to be enemies" theme. they would canonically get together at some point in the story, probably towards the end after they've spent some time dancing around each other.

the thing that makes this vague is: the witch reincarnates through the story, almost doctor who style. they're a trans icon, much like how the GO fandom looks at Crowley and all his gender ambiguity.

when they finally tryst with the witchfinder, they're female. it's by pure happenstance that they're female presenting at that stage of the story, but still widely critiqued over the years. the thing that canonises the mlm relationship is that the witch is said to carry their consciousness through each reincarnation— they're not a new person like The Doctor is when he regenerates.

the start of the book series spends more time on "Crowley and Aziraphale's favourite male reincarnation", while the movie and tv show only briefly montages through some of the witch's faces. the mlm side of the fandom most definitely lost their minds over the brief few minutes of screentime that they got of the male witch, and has absolutely gifsetted it to death.

i've done it like this because so much of (every) fandom has always been seeking out representation and filling gaps where the original content lacks. there's something to be said about the solidarity of queer fans creating more queer content for themselves. except, in the case of N&A, they're getting to work from a source material that is genuinely queer supportive, unlike fandoms like SPN and BBC Sherlock that are fighting against the tide of queerbaiting and buried gays.

it also gives aziraphale and crowley a chance to band together in the next chapter when they talk to a dickhead at the party:

i haven't exactly decided what happens with the witchfinder, like if the story takes place over hundreds of years and he keeps reincarnating as the same lookin dude (like how jack whitehall plays both Thou Shall Not Commit Adultery and Newton Pulsifer) or if it's set over one lifetime and the witch just gets killed and regenerates a lot. i do like the idea of there being some "through the ages" shenanigans, and a canonical "modern day" setting like GO has.

but i gotta be careful bc i genuinely can't stop thinking about this fake story that's barely mentioned in my fan fic or i'll end up writing the damn thing myself