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The 2-AziraCrow Theory

Maybe I should be calling this my head canon, and not even give it theory status.

But I’ll press on nevertheless. This theory had a seed planted when I saw this quote mentioned at the end of one of Sendarya’s videos in which she mentioned the Theologica Germanica concept of the soul having two halves.

The soul has two eyes When one makes an effort Without the other It shan't get very far, When they help each other They accomplish much. [William of St-Thierry]

Some time later, I began to see the pattern, a theme, that seemed to emphasize the concept of twos.

After noticing these, I started looking for other repeating, seemingly frequent ideas.

These ideas just keep crashing and bouncing and ricocheting around in my head. They just won’t coalesce into anything coherent. My apologies for the chaos and disorganization.

Theme – Two, Half, Split There are references everywhere, in dialog and visually, to “2”s, “halves”, and “splits”. Far too many to list, but examples include putting the lesser demons on half rations; being shown a demon’s split-tongue three different times, Azi & Crowley performing half a miracle each; Shax asking Crowley about the two yellow(!) lights on the boiler; the twin passions of Bildad; Crowley leads the humans out of the bookshop 2x2; even Uriel makes two complete revolutions pacing around Michael in the scene before Sq and Muriel arrive in E1. Honestly, the list is extensive. I suppose, however, that it could be referring to two of any number of things.

Theme – Inside/Outside Again, we have dialog and visuals that emphasize the idea of things being inside or outside, but especially inside. Azi to Crowley in the smitten scene “Why don’t you wait inside? You like to wait inside?” Nina’s “A lot of people in this head…”; And we have so many scenes of someone looking inside or out a window. I have quite a list in another document on my computer.

Theme – Spies This one starts right off with the spy sitting down at the wrong bench, next to Crowley. Shax recruits Crowley to try and find out what’s going on in the Up. Beez recruits Crowley to help find Gabriel, etc. Then there’s Jane Austen, master spy. The three zombies spying on them to get Furfur’s proof and we could even say that those go back to S1E3, 1941, “…half-witted Nazi spies running about London…” And, I also really, really don’t trust Michael. Could they be a spy for hell in heaven? But I don’t have any real evidence for that. Just a distrust of Michael.

Theme – “Bit”s Another word used throughout the season, and maybe even in S1. Well, we definitely have the final S1 scene with Azi saying to Crowley “…if you weren’t, at heart, just a little bit, a good person.” Searching the S2 transcript comes up with ~25-ish uses of the word. Is that a lot? Or normal? I have nothing to compare to it, nor base it on. So although Azi is not Crowley’s “bit on the side”, I thought, maybe Crowley is sometimes Azi’s “bit on the inside”.

Theme – Point Another well-used word throughout the script, appearing ~24 times. This is trickier, though, because “point” can have a number of reasons – the reason or conclusion, indicating direction, or the sharp point, of, say, a pin? I suspect that all are somehow applicable in this season.

But just looking at the last one, it could be a call-back to S1 and how many angels, or demons, can dance on the head of a pin. Where we learn that Crowley can make himself small enough to speed through a telephone wire.

I always vaguely thought Crowley’s line to Mrs Sandwich about whether or not she had her hatpin was a bit of an odd, maybe throw-away line and Mrs Sandwich responds so quickly and charmingly that the line gets passed over. But again, is it a reminder of what angels and demons are capable of? Or does this line mean something else I’m just not aware of?

Theme – Small Crowley Not as fully developed, and maybe not as obvious, but in E1 on the bench, for example, after the spy leaves, we see “normal-sized” Crowley immediately followed by seeing a “small” Crowley in Shax’s compact mirror (and he’s looking out of the mirror, see above) when she arrives. In the resurrection minisode, we see another “small” Crowley, when he’s off his head on laudanum.

Theme – “Invisible” Crowley As far as I’ve gotten to date, there are two definite scenes where I think Crowley is actually inside Azi’s head (or whatever) and not physically there.

First, when they leave GMCoGMD with the Eccles cakes in E1. As soon as they are outside the shop, Azi barely looks at Crowley, and Maggie doesn’t seem to see him, that brief conversation is only between Azi and Maggie. Crowley only “talks” to Azi once they’ve started walking again.

Second, and the bigger one, is in E5 when Azi heads out to solicit the shopkeepers to go to the meeting. Crowley asks “Can I watch?” and just follows Azi around and again, Azi barely looks at him; the shopkeepers appear to act as if they are only talking to one person, and Crowley is completely quiet around them, just hanging around in the background.

I also noticed that in these cases Crowley is on Azi’s right, the opposite of where we usually see him. (Oh, an exception is Mrs Cheng, where he’s on Azi’s left again, and he acknowledges Mrs Cheng when they leave, implying to me that Mrs Cheng can see him.) There could be more instances where we see this behavior, but I haven’t studied every episode yet to look for it.

Theme – S2 posters Just looking at these two for now. Azi and Crowley with one pair of wings, one white one black, behind them. I’ve seen the line “…and they aren’t talking…” I’m not quite convinced yet that they aren't talking. I think it could mean they aren’t talking face-to-face, physically. And I optimistically see their positioning as that they’ve still got each other’s back. Maybe I’m in denial, but I just don’t see the “break-up” as extensive as many seem to.

The other poster is this one of Azi and Crowley, each with the other in their heads/thoughts. Crowley is “seeing” Azi from a memory, from 1941. But Azi is seeing a current Crowley, draped across the bookshop chair. Also, I noted that the [double!] rings that surround them are linked.

My way-out-there idea, then, is that Azi and Crowley have “carved out” space for a duplicate but also somehow real, bookshop (a high-fidelity copy?) within Azi, within his mind, his brain, his soul, I don’t know. And he can enter and leave it as needed. It could also be a copy of Azi’s memories or something.

But it’s also someplace Crowley can visit, a place he can go in and out of (like the telephone lines in S1) as needed. I wonder, then, does Crowley in the end “split” himself, so that a “bit” of himself can go up to heaven with Azi? Referring back to Jane Austen, brandy smuggler – is Azi smuggling Crowley into heaven? All season, Azi usually has his hands closed, perhaps to imply he’s carrying and/or hiding something.

With this theory, it gets complicated, though, figuring out which “reality” we’re looking at. The external original(?) world? Azi’s copy in his head? Or a memory? Or none of the above and this is all nonsense.

Multiple sets of memories, possibly getting mixed together, could help account for the inconsistencies in flashbacks, the apparent “continuity errors” in various scenes, the changing POV.

We’ve seen the physical appearance swap. We’ve seen Azi’s physical possession of Madame Tracy in which they could both control the body. What I am considering is neither of those.

This is just a start. I’ll keep working on it unless someone already has some convincing evidence that clearly refutes the idea.

[theniceandaccurategoodomensblog]

Can we talk about the fact that after Aziraphale and Crowley talk about Jane Austen at the pub, Crowley immediately looks for her books in the bookshop, and knows exactly where they are?

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another batch of dumbass Crowley and Aziraphale colored sketchbook drawings because the old men enchant me

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Gabriel 😂

I overlooked the line in the screenshots until I went to look at this scene for someone again last night. 😂

Sandalphon: I smell your evil gay sex in this back room, Aziraphale! Don't you smell it too, Supreme Archangel?

Gabriel: Oh ffs *fake sniff* Whatevs. Crowley's cologne is nice, amirite? Sandalphon! Tell me more about how great a poet you are! Let me quickly rush you out of here in a sea of flattery so you won't remember that you came here to try to harm Aziraphale! So, we're all good, Aziraphale, yes, wonderful, gotta go, oh, hey, wink wink...

*considers* I don't think Gabriel meant the kid's dog, Aziraphale. 😂

*considers some more*

He definitely did not mean the kid's dog, Aziraphale. 😂

Poor Gabriel. You get a reputation in the olden days for thinking sex is all about ribs and, next thing you know, your friends will forevermore assume you're incapable of innuendo and, as such, fail to see how hard you've been shipping it for eons.

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christmas comic!

(aziraphale knows what he's doing)

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Aziraphale brings you a Welsh Christmas, while Crowley — aggressively Scottish

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I've just noticed something. Compare these images of Muriel in their Heavenly uniform and the feathers of this nightingale.

The skirt and the feathers are the same, stiff and straight across at the tail. Muriel's skirt is longer in the back to give the look of tail feathers. The color of their uniform is the same as the nightingale's breast. There are pops of color, sure, but I think that's just to signify they work under Saraqael.

I think Muriel, the supposed nobody of Heaven, is going to be the nightingale that brings our heroes together in the last installment of the show.

[theniceandaccurategoodomensblog]

Near the end of S2, two plots from S1 are directly referenced, so they'll be fresh in our minds as clues to what is happening in the S2 finale. While different plots, they actually have something rather interesting in common that could hint at the reason why it is these two plots we need to remember.

The first storyline is Gabriel not knowing that he was dealing with Crowley and not Aziraphale during the body swap.

What's interesting about this reference is that it is specifically about the body swap plot from Gabriel's perspective. Whether he figured it out or not between the seasons is unknown but, by the end of S2, we now know that since Gabriel has his memories back, he can put together what Crowley told him and he definitely knows now. What's the point here?

Gabriel thought he knew who he was looking at in S1 but it took until the following season for him to be told he didn't.

Hmm... hold that thought while we look at the other referenced plot...

That's the bookshop fire.

Aziraphale refers to it directly when explaining to Nina about the fire in the shop being the reason why they now have so many fire extinguishers. The reference here, though, is that the one having greater difficulty dealing with the fire and who is the reason for the battery-operated candles and fire extinguishers is the one who saw it happen and that's Crowley.

This is where these two, referenced plots start to have something in common...

Crowley's confusion during and immediately after the fire is regarding who is responsible for it. He thinks Aziraphale dead because he can't sense him and the shop is ablaze, leading Crowley to think that it was likely demons at the behest of Satan who did this. He's not entirely sure but when we see him soon after, he's drunkenly recounting how he wound up getting involved with Lucifer, indicating that he thinks Satan took Aziraphale from him.

Unlike the Gabriel story with the body swap, this question is answered almost immediately for Crowley so the story can go forward for the rest of the season. Aziraphale appears to Crowley and explains that he was discorporated.

So, we have two plots from S1 directly referenced ahead of the end of S2-- and both of those plots come down to having the identity of someone backwards.

Gabriel thought he was looking at the angel Aziraphale, but it was really the demon Crowley. Crowley thought it was Satan who took Aziraphale and the bookshop from him, but it was really The Metatron.

Crowley. Thought it was Satan. Who took Aziraphale and the bookshop from him. But it was really The Metatron.

And Gabriel thought he had identified the being in front of him as an angel... but it was really a demon.

In the mirrored S2, those are some pretty big hints that the being identified as The Metatron who just took the bookshop and Aziraphale is really Satan.

There's also writers-stand-in character Furfur whose only contribution to the group scene is to remind the audience to remember a specific part of the Job minisode from back at the start of the season:

The bit where it was an example of Hell doing Heaven's punishing for them.

Furfur then also draws another paralleling line between Job and Aziraphale by saying Job was a lovely man Furfur never met, which is a dialogue callback to this bit in 1941:

The bit where Hell walked through the door.

Are you totally sure this is The Metatron?

Or is it more likely that Bildad had the season endgame foreshadowed for us nicely back at the start?

[theniceandaccurategoodomensblog]

In these two seconds, your mind was blown away. You have plenty of seconds in 90 minutes, love.

[theniceandaccurategoodomensblog]

Hello lovely! I'm wondering if you have any thoughts about Maggie in Final1 5? Isn't it weird that she wants to go back to talk to Az and Crowley while Nina's working? Something about it feels off to me.

Hello right back. 💕 There's chamomile mint tea and shortbread since we're on a Maggie theme, if you'd like some. Maggie's behavior from that scene on is super fucking weird, I agree.

Before the milk run-- when Maggie becomes the only involved character whom we lose track of a bit during The Final 15-- versus how she behaves when she returns is so strange as to be something that I consider maybe additional proof that things are not at all what they seem to be in The Final 15.

On Maggie and Crowley's weird Final 15 behavior, a possible meaning to all the allusions to robbery in S2, and what Maggie and Nina might be able to tell us about what happened at the end of S2.

TW: brief mentions of show's non-consensual possession/rape analogy.

Think for a moment about how truly weird Maggie's request for her and Nina to go back to the bookshop in that moment actually is...

It's only been a matter of minutes since Maggie and Nina were basically hostages in the bookshop who were almost killed by Michael and Saraqael. Crowley saved their lives in getting them out of the shop maybe, what? It's been a minute since I rewatched that bit of it but it couldn't have been more than 15 minutes prior?

The beings in the shop but for Maggie and Nina are supernatural and so left magically without using the door but while we the audience know that these people are no longer in the shop because we were watching it, Maggie and Nina do not know that. When Maggie suggests to Nina that they go talk to Crowley and Aziraphale, they have no way of knowing if the beings that just tried to kill them are still in the shop. They didn't even see Aziraphale leave with Whoever Derek Jacobi Is Playing yet because Nina was all "where's the other one?" to Crowley when they arrived back in the shop.

Maggie is literally like: Nina, I know you opened the business you own late and are the only one working right now and have a line of 20 people waiting for their morning, pre-work coffee but what if-- just hear me out-- we just made them wait an indefinite amount of time to voluntarily go back into the place where we nearly died a matter of minutes ago that could still be full of the people who wanted us dead and we did this for no other purpose than just to tell off my beloved adopted godfather and his partner, who just risked harm to save both our lives? And to maybe then also stick our noses into their love lives in return or something?

I mean... WHAT?!?! lol

Consider, even, how even more weird that is when Maggie, just *prior* to having gone to the mini-mart, had never been more on the same page with Nina and never more understanding?

She sacrificed her own want to go sleep behind the counter of her shop to offer to help Nina. It's a big moment of change in their relationship and shows a lot of growth for Maggie. She's gone from someone who is caring but has a tendency to only think about how things make her feel to seeing things from Nina's perspective. She's matured through the season into being someone more ready to be a partner to Nina. Maggie offering to help Nina with her morning rush-- and Nina accepting the help-- is the sweet, romantic moment showing that these two are heading in a positive direction, both individually and together.

When Maggie gets back with the milk, though? After she's been out of our sight for a few minutes? She's behaving very differently.

During S2, Maggie is shown to be a pretty guileless character. She might have the occasional judgemental moment but she's not deceptive or tricky and she really wouldn't hurt a fly. When Maggie comes back from the milk run, though, her insistence on Nina dropping everything and going with her in that moment is not just weird behavior but manipulative in a way that could not be more out of character for Maggie.

Nina has been in an abusive relationship where she was afraid of displeasing Lindsay. Maggie is aware of this, as it's been the subject of multiple conversations between them throughout the season. So, when Maggie gets so bizarrely insistent on Nina dropping her work-- her livelihood, her purpose, her job-- to meet Maggie's demands in that moment? When this isn't an emergency of any kind and isn't at all time-sensitive and there is no objective reason why Nina should be halting her job to do what Maggie wants in this moment? Maggie is being controlling in a Lindsay-like way. She keeps at it, knowing that Nina will give in and agree to go with her because Nina is used to doing that with her partner.

Nina hesitates and isn't sure whether or not to go with Maggie for a moment and I don't really blame her? This is the complete opposite behavior to Maggie before she left for the mini-mart. Maggie is suddenly acting quite a lot like her polar opposite-- the Lucifer-and-Heaven-paralleling Lindsay.

Maggie is also literally on Nina's shoulder like a devil the whole time in the scene in which she's convincing her to step away from the shop and go across the street with her to the other shop for a chat and...

...listen to what we just said there...

...it's a parallel to the thing that Whoever Derek Jacobi Is Playing is doing with Aziraphale, is it not?

So, what happened on the milk run?

Who did Maggie run into at the mini-mart that we couldn't see in the ending of S2 without it giving the game away? I wouldn't be surprised if, on this mirror-happy show, on the other side of learning in S3 that it was The Devil with the coffee in the bookshop in The Final 15, we also had a scene that showed that, while on her milk run, Maggie had a run-in with Sister Teresa's killer.

Did Hastur possess Maggie as part of Satan's plan? Was the idea to use Maggie and Nina to further trip Crowley and Aziraphale towards disaster to get Aziraphale? If so, it kind of half-worked. I'm not convinced that anything Maggie and Nina said to Crowley really mattered-- I think they weren't telling him anything he didn't already know or feel and that it's largely misdirection for the audience. What was effective, though, was the impression Aziraphale got upon seeing them leave as he was coming in.

Maggie and Nina being back in there at this weird time and then rushing out with smiles and comments like that they were "just leaving" and they were sure Crowley and Aziraphale had "a lot to discuss" seem to have led Aziraphale to assume that Crowley had asked them to come back and to the conclusion that he must have done so to tell them of his intent to ask Aziraphale to marry him. It's Maggie and Nina leaving the shop that reinforce to Aziraphale the idea that, when Crowley stands up afterwards, takes off his glasses, and says he supposes he has "something to say", that Crowley is only trying to communicate a proposal and not a plan.

It's what helps-- big time-- to lead Aziraphale to not listen for a shred of coded language for the entire scene. Neither he nor Crowley are listening for that with one another, which is why neither of them can truly understand what the other is saying, but Aziraphale's part of that is really fucked to Hell by the presence of Maggie and Nina in the shop when he came back. That's all pretty suspicious since Maggie was out of our sight for a few moments and came back fixated on the idea that she and Nina needed to go to the bookshop right that very moment and that it couldn't wait.

The Final 15 is a dark parallel to The Baby Swap plot and Maggie and Nina are full of shadows of Sisters Mary and Teresa to a point that the final shots of both of them in the series are mirror images of the final shots of their S1 characters. Nina looking through glass at Crowley departing is the last shot of Sister Mary both in 2008 and 2019, while Maggie's last shot?

To me, it's one of the most eerie moments in the entire series because of how much it visually resembles Sister Teresa's death.

Basically two minutes after we hear about The Second Coming... in the same season where Maggie and Nina's partial-vavoom gives way to a (possessed?) Gabriel saying: the dead will leave their graves and walk the Earth once more... we are shown Crowley and Aziraphale's apparent adopted goddaughter unresponsive on the counter of her shop.

Is Maggie dead?

Is Maggie asleep, like we were led to believe she wanted to do earlier in the episode? Maybe. Is she comatose/unconscious? Maybe. It's just that, best I can tell, she does not take a breath during the shot which I feel had to be intentional on the part of Maggie Service, and she's in the same position as we last saw Sister Teresa in S1...

Then, there's the robbery theme and how Maggie and Nina foreshadow so much of the end of S2 back in this scene here:

In Good Omens, the shop is the character. Maggie is, symbolically, the records she sells. The show also explains that Maggie's shop used to be a part of the bookshop. Now, there are three characters, not two, who are A.Z. Fell & Co.: Aziraphale, Crowley and Maggie. At the same time, Aziraphale is also The Small Back Room. The shops are intertwined as the characters are, essentially, family in the story. The fate of one is the fate of the other, which makes what Maggie and Nina foreshadow when talking about Maggie's shop while trapped together in Nina's not just the fate of Maggie's shop in S2 but also of the bookshop.

Maggie says that if she can't close the door to her shop, someone could walk in and take records. Maggie is the records she sells so, symbolically, this means someone could take Maggie. We got a bit of a preview of that when Shax appeared to get into her mind during the attack on the bookshop and Maggie also became the one who unintentionally "let the robbers in."

These robbers, Maggie frets... they could empty her till-- take all her money on a literal level... take her mind, or maybe even her life, on another. (Not to mention the now chill-inducing use of money-related words and coins with regards to the paralleling Crowley...) These robbers could take forcible ownership of Maggie's shop-- so, of Maggie. Maggie's shop was born of the bookshop... so, they could take forcible ownership of the bookshop, too.

Not just the physical bookshop, though that, too. The symbolic bookshop. Which is not only Aziraphale but Crowley and Aziraphale.

But, if The Small Back Room was originally part of the bookshop, then the bookshop really isn't just Crowley and Aziraphale-- it's Crowley, Aziraphale and Maggie.

If the robbers come for the bookshop, they've also come for The Small Back Room because it is all born of the same, symbolic shop.

Is that what they did?

Is that why Maggie is last shown to us non-responsive in her shop?

Now, Nina's even more foreshadowing reply:

Nina said that, if she owned a record shop, she'd be more concerned about "someone breaking in and leaving more records behind."

What are records? They're the literal records in the musical and old film sense that Maggie sells, yes, and also Maggie herself. They're also books, like what Aziraphale sells, and Aziraphale himself. But they're also a third thing that's very much of note in S2.

They're also the life's work of a scrivener, like what Muriel does.

Nina foreshadows someone breaking in and leaving "more records behind"... which is exactly what happens in The Final 15.

Elspeth's graverobbing. Bildad stealing Job and Sitis' wine and food. The 1810 Clerkenwell Diamond Robbery. Aziraphale having the missing Shakespeare Robin Hood play in the box in 2.06. The robbery-based fantasy Aziraphale was telling Crowley in Lockdown: ...the other night, when a couple of young lads broke into the back and tried to steal the cash(cache)box!

The Final 15 is a robbery.

The last two episodes see the shop attacked during The Meeting Ball and into the next morning. Aziraphale is robbed blind of his entire life. Characters are taken hostage. Signals for help are tried and fail. The cop, it turns out, was a stooge for the robbers. Whoever Derek Jacobi Is Playing broke in through the open door and robbed the place blind, as Maggie foreshadowed. As Nina foreshadowed he would, what did the robber leave behind?

More records. Muriel.

To rob, as we know, is to steal. It's to plunder or strip a place from someone through force and/or violence. That is why it was once, in addition to being descriptive of physical goods stolen from a person, also a word that was used for rape, for which non-consensual possession has been analogous since the show's first episode. That is why some of us think that the music goes insane on the look to Crowley in the scene below. Satan is robbing Crowley-- forcing him to identify him as The Metatron to Aziraphale and the angels and to let Aziraphale go alone with him.

Satan attacked Crowley in front of Aziraphale and, while Aziraphale pretended he didn't see it, he did, which is why he led "The Metatron" straight out the door in an effort to get him away from Crowley. Because, speaking of characters behaving very weirdly... anyone have a better explanation for why guard dog Crowley sat in that chair like he couldn't get out of it and encouraged Aziraphale to go alone with a guy who once tried to kill them? It just doesn't make any sense unless his words are not really his own and there's only one character we've seen do that to him.

And if Crowley's not the only one behaving out of character, then what else happened to Maggie at the mini-mart but something similar?

What happened in The Final 15? Satan robbed the bookshop.

He and The Metatron don't give a toss about the shop itself and plan to destroy it alongside everything else once Armageddon gets rocking. They're there to get Crowley and Aziraphale out of the way for Armageddon by dividing and conquering. Just because we've yet to see blood doesn't mean this wasn't robbery by force.

Satan took hostages at the start-- letting the ones go he didn't care about go and keeping the ones most likely to influence the shop's owner: Crowley and Muriel.

Satan and The Metatron sacrificed Muriel to their plan, not caring if Muriel explodes along with the shop when they kick off Armageddon a matter of *checks watch* basically any minute now after S2. We think Muriel is better off in the shop at the end of S2 but I'm not totally sure they are. I think it actually might be one of the most dangerous places to be in right now. The bookshop didn't burn down this time-- it was burned as safe space in every possible way. It's a crime scene.

The Metatron and Satan are here for revenge. The Metatron is letting Satan have Aziraphale to get Crowley and Aziraphale out of the way for Armageddon. There is no real job offer-- it's all Satan tempting Aziraphale into falling. Satan's revenge on Crowley and Aziraphale is to force Crowley to help him take Aziraphale right out from under his nose. That's the start of it, anyway.

Besides Armageddon and daring to have a relationship and a sense of self outside of the demonic collective of Hell what is Satan really pissed at Crowley and Aziraphale about?

His kid. Adam. Crowley and Aziraphale helping Adam against him.

If Satan has been lying in wait, still very, very angry at Crowley and Aziraphale for turning his son against him and if he's now here for revenge, then who else besides Aziraphale is then most in peril here?

Yes, my Job-and-Sitis-paralleling poppet... your big, cross duck and your kids are most imperiled here and S2 showed us that your kids are not just humanity writ large but, specifically, Maggie. The Small Back Room is of the bookshop that is you and Crowley. Maggie is your Adam. Will Satan come after your daughter? It's a concept posed in your paralleling/foreshadowing story earlier in the season... actually, it was also the entire plot of that paralleling story earlier in the season as well...

I feel like not going with Ennon and Keziah's theories on Satan's behavior is probably the best way to form a Good Omens theory 😂 so I'll stick with the idea that Satan very much would dare leave a revenge body count of Crowley and Aziraphale's adopted kids, as the Job minisode proved he'd do even with the spawn of "God's favorite human", let alone anybody else.

As, speaking of foreshadowing lines, this is really even more S2 than it was about S1:

Satan will even have a whole pseudo-philosophical chat about it with you first, amused that he's standing in a place called Give Me Coffee or Give Me Death and ordering a coffee while the plan is likely for this place, the women making him the coffee, and everyone on this street and on most of the planet to be dead by tomorrow.

Maggie is the only character who actually asked for coffee using that exact word in S2.

[theniceandaccurategoodomensblog]

Hi, if I want to send an letter/email to amazon about how much I personally love GO, do you know which email I should send that to?

Hiya! :) Sendarya has the addresses here :).

[theniceandaccurategoodomensblog]

Jemimah and The Final 15

In the Job minisode, we have the scene in which Crowley and Aziraphale get inside Job's house and meet his kids. While we know that they mean the kids no harm, this scene, as we'll look at below, is a parallel to the more dangerous arrival of that being who brought a coffee in The Final 15. I think that Jemimah's reaction to Crowley in the past actually solves what's going on in the present story of The Final 15. How so?

The different reactions of Job's kids to finding Crowley and Aziraphale in their living room are paralleling both the different reactions of the characters present in the bookshop when Whoever Derek Jacobi Is Playing arrives with the coffee in 2.06... as well as the accurately-predicted-by-the-show audience reactions to just what the hell is actually happening during The Final 15. The answer to how to look at it to see what's going on is hinted at by how Job's kids and their reactions are presented to Crowley, Aziraphale and the audience.

First is Keziah. Like her other two siblings, Keziah knows that something is amiss here. However, she doesn't question what information is presented to her. When Aziraphale states that he is an angel, it doesn't occur to Keziah that Aziraphale has never actually said that Crowley is an angel, too, and hasn't actually identified him at all. Keziah presumes that Crowley is also an angel because she has seen pairs of angels arrive at her house in the past... just as many fans have seen the face of The Metatron before and so assume they are looking at The Metatron once again. She tells Ennon that "the angels are here", just not their usual ones, and that these angels "haven't brought the wine."

This is the main problem that Keziah sees-- the lack of wine. In parallel, the lack of wine in the Job minisode = the oat milk latte in 2.06. Keziah has correctly identified a problem and a clue as to what's going on. She is not wrong that the fact that these are different angels than usual and that they have not brought wine is unusual and indicative of a problem. Keziah's issue is that she thinks this is the only thing that matters and the most important clue when, really, it's not. There are things to mine here-- just as there is with the coffee from the shop in 2.06-- but this isn't going to be what most directly says what's happening... not just in the Job minisode but also in The Final 15.

Then, there's Ennon. Keziah calls Ennon into the room. She identifies the two beings in front of them as angels and comments on the lack of wine. When she does so, she says "wine" with a tone that is suggestive of Ennon and Keziah using wine in an euphemistic manner the way that Crowley and Aziraphale will eventually do between them and the way that the show itself overall does. Now, we're not just talking about literal wine but also sex.

Ennon, like Keziah, is distracted from the goings on by narrowing in on one aspect of what's happening that, while significant and definitely worth looking at, is also not going to be the answer to what's happening in and of itself... just like us looking at the kiss in 2.06. There's plenty to look at it, just as there is with the coffee, but both are distracting from the answer. Both are intentionally waving "look over here" to help hide what's happening right in front of them.

So, if Good Omens is trying to say that there are always things to analyze but that, if you want the answer to what's happening, the two things they know people will discuss the most-- the coffee and the kiss-- are not the right paths to take to see what the plot is... and if they're using Job's kids to hint at that to the audience... how would they suggest that? How do they make it clear that two of Job's kids are going in a direction of finding stuff to analyze that will get them results but not the actual answer while the third kid is likely going down the path of the answer?

Since it's the coffee and the kiss that are the false-starts here, those together are the wine and "the wine" in the Job minisode, right? Ennon and Keziah are those rare birds so far in Good Omens-- they're teenagers. They're really not yet mature adults but they're also no longer small children. They're old enough to understand all levels of wine. In order to show that, while there's nothing wrong with analyzing all the proverbial wine here in the story, it's not where to go to see the plot, Good Omens needs a character who can think around the wine. Their answer to that is a little girl who is barely old enough to know what wine even is lol and, so, manages to only see the exact clue to the happenings-- both in the past and in the present of 2.06.

Jemimah about seven or eight. She's younger than The Them were in S1 but she's closer to them in age than she is to her much older siblings. She also is an artist and inquisitive by nature-- a little mini-Crowley-- which means that she might be small but she's inclined to question this entire damn thing.

Ennon and Keziah were going down the dangerous path of accepting that they had been told that the two beings in front of them were both angels. The reason why their wine analysis will yield them results but no overall answers is because they've accepted the narrative as it's presented to them. They were told that Aziraphale is an angel but they don't stop to think about how he actually never identified Crowley or that Crowley never truly identified himself. It's Keziah who presumes that they are both angels and it's Ennon who just believes her and doesn't question it, either. This is how both of their paths are not going to lead them to answers as to what is happening in the story and why it's Jemimah that gets those answers.

Jemimah is the only one of her siblings who questions the nature of the whole plot itself, which is how she nails The Final 15. She trusts her own eyes more than someone else's words and doesn't discount the clue so obvious that everyone else discounts it, thinking it has to be more complicated than this... even if it's not.

Jemimah looks at the most simple clue: what this being in front of her that she's been told is an angel is wearing.

Little seven year old Crowley is aware that Bildad doesn't exactly vibe with the all-white, cult look of the angels. She is also pointing out that the really simple and, yet, very important clue to The Final 15 is actually just what the being who showed up with the coffee is wearing.

(Probably also the fact that he's able to be wearing anything at all, given that we're used to seeing that face as a floating head lol.)

Jemimah has been told by everyone around her that she's looking at a pair of angels but this doesn't sit right with her. Every angel she's ever seen dresses like Aziraphale and Bildad here does not. That is not dissimilar to our experience with the angels. Even after they all stopped dressing like they were in a doomsday cult, they all have stayed within the same, limited, light color scheme. There has never been an angel in a dark suit, like the one being worn by the character that some-- both on the show and watching it-- are assuming is The Metatron. That Jemimah is correct in the Job minisode is a clue to us that, in the paralleling scene we'll get later on in 2.06, it really might just be this simple.

I mean... this is a funny-looking angel, is it not?

The reason why some characters in the room in 2.06-- and some of the audience-- believe this to be The Metatron is for the same reason that Ennon and Keziah believed that Crowley was an angel when he entered their living room in the Job minisode. It's because he entered with the face of an angel... in that case, a separate being in Aziraphale, who was an angel... just as Satan entered the bookshop in 2.06 with a face and voice of an angel that the other angels-- once told-- would find familiar. (That they had to be told is a whole other clue supporting the idea that it's not really The Metatron.)

Jemimah nailing that Crowley is a demon is quietly saying yes, the other stuff is important and worth looking at in detail but, if you want to know what's happening in The Final 15, don't ignore the single most simple clue in it-- the dark suit.

Don't be so distracted by "the wine" (the coffee and the kiss... important but not the answer) that you overlook Jemimah's more simple observation of why the hell this being everyone is saying is an angel doesn't actually dress like one and that, as a result, he's far more likely to really be a demon.

But this is actually just only one of two hints to "The Metatron" in The Final 15 really being Satan that Jemimah's reaction gives us.

The second comes from the most chilling pair of parallel shots in S2-- the first of which is the sweet one, which is Aziraphale's response to Jemimah. Watch very carefully through the end of the gif below and note how this moment is filmed:

As Aziraphale answers Jemimah and confirms that, yes, technically, Crowley is a demon, Aziraphale is looking at Jemimah and not at Crowley. This gives Crowley a moment to look at Aziraphale without being noticed-- but we can see him doing so. The shot is designed to show us how Crowley is looking at Aziraphale when Aziraphale isn't looking at him so that we can see it, right? We see Crowley openly gazing at Aziraphale, smiling and happy to be around him again, because of the shot including both of them. Crowley can't take his eyes off of Aziraphale and it's very sweet, right? Then, what happens in the shot?

Aziraphale finishes speaking and turns to look in Crowley's direction. The Job minisode is still pretty early on in their relationship, so Crowley pulls his gaze the moment that Aziraphale turns his head. He looks back at the kids, instead. It's so fast that, if Aziraphale caught any of the lovesick gazing that we saw on Crowley's face, it was so brief a glimpse that Aziraphale might have wondered if he even saw Crowley smiling at him at all. *We* saw Crowley with naked love on his face gazing at Aziraphale but Aziraphale, likely, did not see it.

This sweet moment has a very dark, parallelling scene in The Final 15.

It's this:

Just like the shot of Crowley gazing with lovesick eyes at Aziraphale while Aziraphale was looking in the other direction, we have this shot of the funny-looking Final 15 angel in our view as much as Aziraphale is. It's so we can see what "The Metatron" is doing.

Just like how we could see how Crowley was looking at Aziraphale-- the shot designed to give us that information, even if Aziraphale might not have seen it-- this shot in The Final 15 is structured so that we can see this being whom some people think is The Metatron staring at Crowley while Aziraphale is not looking at him. This is important information that the show wants us to have enough that it structured the shot this way. While Crowley was gazing at Aziraphale with love in the Job minisode, Satan is staring at Crowley to possess him during this bit of The Final 15.

When Aziraphale turns, he appears to have seen and understood (likely also from Crowley's behavior in this scene) more than he did in the paralleling moment in the Job minisode but the fast turn also sees Satan paste on a reassuring fake smile and was so fast that it makes it plausible for Aziraphale to continue to pretend like he doesn't know who this likely really is. He'd love for it to be The Metatron and hopes he's wrong but he has the feeling that it's not.

The music gets extra villain-y when, the moment that Satan thinks Aziraphale is no longer looking at him, Satan stares at Crowley again, with dark intent... finishing the instructions he was giving him before Aziraphale turned his head, most likely. Making sure that Crowley doesn't follow them. If you look closely below, you'll also likely notice that Satan's lips are moving, even if his words are, to us and Aziraphale, soundless.

This emphasizes that this being's eyes just didn't happen to be on Crowley a moment before because Crowley had been speaking but that it was because this is Satan and he was making Crowley say what he did... which, honestly, makes a lot more sense than thinking that Crowley would encourage Aziraphale to go alone with The Metatron without there being something wrong with him.

This is a funny-looking angel, as Jemimah would put it.

Odds are good, then, that he's really not one.

[theniceandaccurategoodomensblog]

Something about how Good Omens is a story about grappling with the fact that the person / being you thought was all-powerful and infallible and had a perfect Plan for your story turns out to be a dissimulating puppeteer who's at best full of shit and at worst actively harming you or people you love, and how disentangling yourself from your relationship with that person is not a simple thing when they are the only source of truth and love you have been taught to rely upon ...

[theniceandaccurategoodomensblog]

In the end of S1E3 Adam is putting in bed and hearing voices like "you can fix it, do it, change it" and later he wants to fix the world and now I ve watched it and thinking about parallels with azi's "if i m in charge i can make a difference"

[theniceandaccurategoodomensblog]

come to the good omens fandom. we have bible themed pornography