GO3: Crowley and Aziraphale sacrificed themselves to give us the real world! ☺️😍🥂
Me: 🤔 Not to be ungrateful but <gestures broadly>

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@asphodel124
GO3: Crowley and Aziraphale sacrificed themselves to give us the real world! ☺️😍🥂
Me: 🤔 Not to be ungrateful but <gestures broadly>
I’ve been reading the discourse about whether or not the ending of GO3 was something Terry Pratchett would have penned, or if it rings more of a revenge plot from a narcissistic abuser who greatly exaggerated how close he was to Pratchett to begin with. I’m just starting to read Discworld and I don’t have a lot of evidence yet, but had a thought.
The idea of Crowley and Aziraphale loving the world, loving humanity so much that they are willing to sacrifice themselves to save it all feels very much like an idea put forth by Pratchett, in line with values that say people, no matter how flawed, are worth saving. It’s always worthwhile to fix things that are broken, even if it’s hard, even if it hurts.
The idea that an ambivalent God (who is also a Black woman) would allow it to happen and destroy everything that our ineffables loved, without them ever even existing, feels like manipulative prose meant to be a desperate parting shot before NG fades into obscurity. A way to deeply hurt fans while claiming it was “the only way”, ignoring the messages of Job and his children, of the entirety of the story thus far.
I have very mixed feelings about the finale, and find myself more and more just… not accepting it as canon. Or at least not all of it - give me an angel and a demon ready to be destroyed just to give humanity a chance at free will, and at the last second Terry comes up with a bureaucratic loophole that fixes what’s there already, no sacrifice needed, “can you imagine if we had been at all competent?” ending that is kind and hopeful and just as powerful.
With Crowley and Aziraphale retiring in the South Downs, instead of Anthony and Asa (even though I do enjoy a romantic “I’ll find you in any universe” trope and I’ll never hate these two adorable husbands). It feels more and more like a bone thrown to fans instead of a true happy ending. At least to me.
I dunno. Whatever you feel or think is valid and I’m not here to change minds or insist what I think is more correct than other folks’ opinions. It was only a thought.
I’ll just be over here reading my hopepunk fix-it fics and wishing desperately we still had Terry with us today.
So wish TP were still with us.
Catastrophize Benedictine
All right, Ubiquitous Anxiety Chips, I bet a cool ten grand on you, so don’t let me down!
Anhedonia Strawberry!
I’m sure it’s a winner. But it’s hard to care very much. About anything :P
Avoidance Popcorn for the win!
Go, go, Hyperfixation Vitamin!
Fatigue Lemon Cake Batter Ice Cream?
Oh and also, let me tell you what really fucking pisses me off.
The focus on the angel that Crowley was before the fall.
If my best friend (female) went up to god and said “I’m the second best woman there ever was” and when asked who the first best woman was, came to me (trans man) and said “this one right here” I think I’d nuke something. I’m not a woman anymore, and I haven’t been for the longest time. My best friend knew me before I came out and has never been anything but supportive. Translate that dynamic to Crowley and Aziraphale and it just feels like Aziraphale is ignoring who Crowley IS, and does everything that he does for who Crowley WAS.
His “we can be angels together” moment in season 2 works because he’s deluded, blinded by the promise of an ideal life. It’s supposed to hurt. But in a show finale, to have one half of a duo only praise who the other half USED to be,,? Feels icky to me
I’m not saying it’s a transphobic metaphor or anything, I’m just using personal experience to describe how it makes me feel.
Finale!Aziraphale (who is a completely different character to me; I reject him) doesn’t give a damn about the Crowley he spent the last several millennia caring for and that pisses me off beyond belief
Amen, sister (gn)!
happy pride month to country mama lynn and country mama lynn only
Someone give this woman a damn crown and medal
Happy pride month to country mama lynn and ger gay son only
aint it crazy how many people realize they're queer when they have the language to express how they feel and a support system to encourage self exploration????
I never stop enjoying reading this. Literally everyone's lives improves.
Ancient legends say that if you reblog this on June you get 110% gayer and stronger
right at the beginning when she's like how do I help my son feel loved and accepted I'm here shouting "QUEEN YOU ALREADY DID THAT BY TAKING HIS SIDE AND LEAVING THAT NO GOOD HUSBAND FOR HAVING THE AUDACITY TO KICK YOUR BABY OUT!" And Good for her! this is the only response to a man who kicks out a child.
good omens 3 is as if they made a non book based season 3 of heated rivalry where shane and ilya had a big fight, talked through some of it but not all, barely touched each other, then died to save hockey
Exactly!!! 😂😂😂
friendly reminder that aziraphale made crowley smile in rome when he realized he was in a foul mood
that he blushed when he described crowley as a wily adversary (keeps me on my toes)
that he smiled when he realized the bentley was back without a scratch after having blown up
that he refused crowley a suicide pill
that he kept an eye on crowley for 26 years after 1941, then sought him out and gave him the holy water so that he didn't have to get it himself. but i can't have you risking your life. not even for something dangerous. if we must quote it then at least let's quote it right.
that he went to hell for crowley and made sure they wouldn't bother him anymore
that he only ever cared about crowley not being destroyed
that no way aziraphale didn't check on crowley in three years
friendly reminder that aziraphale would never give up crowley without a fight, not even if crowley asked
These are such great points!
After Season 2 it became very popular to say that Aziraphale loved Crowley and loved the world, and his first instinct was always to *protect humans*, whereas Crowley ONLY cares about Aziraphale, therefore Crowley loves Aziraphale more than Aziraphale loves Crowley. And then I think that feeling really pervaded the fandom and it just became kind of an accepted fact.
This viewpoint has never sat well with me.
First off, love isn't a competition. You don't "win" if you devote yourself harder to someone than they do to you. I'd go so far as to say that the only way to win is to participate - that is, to love someone. Any iota of love is valuable.
Secondly, even IF Aziraphale's first instinct is protection... So? Does that mean that all his other feelings are somehow less valid? Is it possible that his protection instinct is... ineffable? Something that was inserted into him that he has no control over?
Third, the acceptance of the opinion that Crowley loves Aziraphale more than literally anything in the universe while Aziraphale has different priorities gives some viewers/members of the fandom a reason to think less of Aziraphale, and thus accept it when he does shady stuff like forgive Crowley for being heartbroken.
All of that adds up to absolutely accepting that Aziraphale would just shrug and say "okay!" to the complete annihilation of the universe, Crowley, and himself, because when viewed with that lens, he seems selfish and unsympathetic.
But as you point out, Aziraphale has cared about Crowley since Before the Beginning! He was ALREADY worried that he'd get in trouble two minutes after meeting him!
What the finale/movie/season 3 did was completely flatten our Ineffable Husbands and make them one-dimensional so that we could have the end of the universe without a fight. These are not the characters we grew to love starting in 2019, or even the ones we loved from 1990. These are some weird, nihilistic, sad sack versions of our beloved duo, and I'm so sad they were treated so abominably.
On Open-Ended Endings
PSA THIS POST IS VERY ANTI-GO S3 so if you don't like don't read please. Please protect yourself. I'm not here to change minds, just to exorcise thoughts.
LEAVE
IF
YOU
LIKED
THE
FINALE
OR
ARE
STILL
REELING
PLEASE
AND
THANK
YOU
AND A CUT FOR GOOD MEASURE
i hate that i’m not over the gomens finale yet. i want to be a much stronger person. i want to be like oh well it’s just a tv show and canon doesn’t mean anything and i am. i do. mostly. like 70% of the time. or so. idk. and then there’s a wave of grief just crashing over me again
Right there with you. It’s not “just a TV show,” is the way I think about it. It’s all the real-life things this story connects with, all of the real-life hopes and fears and sorrows, all of the pieces of ourselves.
I do love the book, but from the time I saw the show, I saw that These Characters As Portrayed were everything and must be allowed to be happy.
No matter how much projecting we are doing, the idea that these traumatised, lovely, clever, anxious beings that distanced themselves from their people because they couldn't go along with them, and who are exactly the kind that our society has less and less tolerance for-- that they could succeed and heal together happily? It was everything. I don't know if it hurt more that they-as-themselves failed, or how they did, or how they were first contorted into uncanny imitations of themselves first to rip apart the parts of our souls who love them so dearly by not being who we think know they are and taint not only their present (recent?) selves but also themselves through the entire canon? There's a post somewhere on Tumblr that through loving characters we identify with, we learn to love ourselves. What happens now?
i don’t know where we go now. but i found this comment very comforting. let’s go there and hold hands
"Rejecting something and refusing it to have power over you sounds like a very Pratchett thing to do."
One thing I love so much about this fandom is how many wonderful, like-minded, creative people there are here. I took a lot of solace after season 2 in the fact that SO many other people seemed to agree that these characters felt like dear friends. There was even a creator on YouTube, Sendarya, who made excellent videos analyzing the themes in the show.
I was so happy when she made a video about the finale, because she was just as devastated as I was, but she is much more articulate than I am. This video talks about what a betrayal the finale was, and she emphasizes that GRIEF IS INVOLUNTARY. Those of us who are distraught and grieve Aziraphale and Crowley can't help it, and those feelings ARE VALID.
It's an excellent video, and I recommend all her Good Omens videos for a fun journey through the show.
Stay strong, my lovelies. This may not be Aziraphale and Crowley's world, but it's ours, and it's still beautiful.
https://youtu.be/1om79NAalWA?si=cAsHCs3A5hU1Nb4V
On a meta level, Good Omens S3 was EMOTIONAL ABUSE.
... Meaning, I'm pretty sure Neil Gaiman did it ON PURPOSE, knowing how much it would upset the fans.
Neil knew how badly we wanted Aziraphale and Crowley (OUR version of Aziraphale and Crowley---the specific version of them we met in Season 1) to be together. He knew we wanted to see them resolve their issues and ultimately choose to be with each other in the end.
Instead, Aziraphale and Crowley forgo that emotional journey in favor of unnecessary pain. Neither of them experience real character growth in the finale; they are shown to be the worst and unhappiest versions of themselves, without getting a real shot at redemption. They never fix their communication issues. They don't express their true, authentic feelings for one another (don't @ me with that bullshit hand kiss thing). They never manage to get on the same page emotionally---even when they both agree to commit suicide (which I'm pretty sure was not the "one thing" Aziraphale wanted).
"Why give me Crowley? Why make me complete and then take it away?"
EMOTIONAL WITHHOLDING is a common abuse tactic utilized by men like Neil. They enjoy creating ATTACHMENT in their victims and then "TAKING IT AWAY".
It's easy to see how much Neil enjoyed frustrating his fans in retrospect. He actively taunted us on social media with the catchphrase "WAIT AND SEE" and threatened to make Aziraphale and Crowley kiss---but in a way we "wouldn't like". He loved dangling the implied promise of a happy ending over our heads, which we now know he never planned to deliver on.
Neil was unkind to his audience. He was also unkind to his characters. Aziraphale and Crowley are treated as punching bags throughout the entire series---shown to be "messy" for the sake of entertainment, but not as a real obstacle for either of them to overcome. God herself says she enjoys seeing how much Aziraphale values his relationship with Crowley. And this turns out to be her justification for "taking it away". (Tell me THAT isn't some fucked up shit.) Aziraphale and Crowley experience real emotional pain as the result of her actions---and this is demonstrated by the incredible acting of Michael Sheen and David Tennant.
Neil explicitly sold this as "a love story" when he created the show. Based on the tone of the book, an eventual union between Aziraphale and Crowley would have made the most narrative sense. It would have emphasized the overarching themes of love, agency, and the futility of "choosing sides". But that would have required Neil to possess the same ethos as Terry Pratchett---meaning LOVE AND RESPECT FOR FELLOW HUMAN BEINGS.
We were never going to get a good love story out of Neil. Men like Neil get off on "PUNISHING" people for no apparent reason; he obviously did this with our beloved characters, to disastrous result. Nonetheless, we still manage to ascribe deeper meaning to Aziraphale and Crowley, thanks to the phenomenal acting team and the dedication of this fandom. Aziraphale and Crowley remain the greatest love story of all time, not because of anything Neil actually wrote, but because of everything that was projected onto them by the people who cared. We assigned their relationship a depth "Neil himself" never could have imagined---one that exemplifies our maximalist ideals of love and the decision to choose it again and again, in spite of everything. It is never going to "end" on Neil's preferred terms. In this rare instance, fan interpretation STILL MANAGES TO ECLIPSE THE SOURCE MATERIAL---and that is because LOVE is always a more powerful story than ABUSE.
The Mourning of a Universe: Why Season 3 of Good Omens is a Philosophical and Narrative Contradiction
(I am french, english is not my first language so I am sorry if I make mistakes)
The Impact of an Unforgettable Work
At the end of 2023, I discovered Good Omens on Amazon Prime. At the time, the only work of Neil Gaiman’s I was familiar with was Lucifer, but I had no idea he was involved in Good Omens, nor did I know anything about Terry Pratchett's work. Usually, I do not invest myself emotionally in TV shows. Works like Sherlock or Hannibal had deeply moved me and influenced me on a creative level, but I watched them long after their original broadcast.With Good Omens, , it was different. Experiencing the wait in real-time, speculating with the fandom, enduring the anxious uncertainty during the hiatus at the end of 2024... All of this etched the series into my heart.What won me over was its tone: a sharp, quirky satire capable of addressing heavy, profound themes with lightness without ever defusing the actual high stakes. Heaven and Hell were ridiculous yet genuinely terrifying. It was a true love letter to humanity, where even a character like Shadwell, introduced as a grumpy, misanthropic old eccentric becomes endearing through his relationship with Madame Tracy, without needing an artificial redemption arc. The show successfully avoided the trap of simplistic moral binary: Heaven was not purely "good," Hell was not just "misunderstood," and humans remained masters of their own free will, even outdoing Crowley in horror during the Spanish Inquisition or World War II.
Yet, watching Season 3, I found absolutely nothing of what made the essence of Good Omens. After initially trying to rationalize this bittersweet ending just to comfort myself, I had to face the facts: this finale is a disaster in terms of writing. And I am no longer a
“fan who goes along with the end as far as she can”.
I. Budgetary Constraints That Shatter Immersion
The 90-minute finale suffers from a blatant lack of resources, which severely hinders its ability to deploy its stakes. A deserted Soho, a Hell emptied of its demons, and the near-total absence of Aziraphale’s bookshop create a sanitized, deeply unsettling atmosphere. The behind-the-scenes features actually reveal that the eternal flame scene and the cottage scene were shot right next to each other in a tiny studio space.This lack of time and budget led to poorly executed antagonists. How are we supposed to care about the threat posed by Brian Cameron or Misty? Crowley knows them, but we do not. In a span of 90 minutes, their warnings ring entirely hollow, completely lacking concrete actions to back up their dangerous nature.
II. The Psychological Deconstruction of Aziraphale and Crowley
The very heart of the series relied on the alchemy of our duo, bickering like an old married couple. In this finale, that quick-witted, back-and-forth dynamic completely died out.The reconciliation process is nonexistent. Crowley rattles off complaints in the Bentley without ever showing his vulnerability, while Aziraphale walls himself up in an unprecedented level of pretentiousness. His famous “I forgive you," far from being an acceptance of apologies (which were never even offered), serves as a lazy narrative shortcut to sweep the plot under the rug. Even the highly symbolic Apology Dance was brutally cut short.More troubling still, the scene with God betrays Aziraphale’s core characterization when he self-proclaims to be "the best of the angels." Aziraphale has never considered himself good enough; he has spent his entire existence blaming and hating himself for falling short of his own high moral standards. We are light-years away from the character who, in the Job minisode, collapsed into tears upon realizing the gravity of his rebellion:
“I lied. I lied to thwart the will of God. [...] I’m a demon. That’s what I am now.”
III. The Destruction of Crowley’s Philosophy: The Collapse of a Rebellious Optimist
The Season 3 finale achieves the unthinkable: it destroys the very substance of Crowley's character, turning him into a cynical being whose actions contradict his deepest convictions.Throughout the book and Season 1, Crowley is depicted as an observer fascinated by humanity, someone fundamentally "optimistic" about the capacity of humans to choose their own destiny. He is the first to recognize the absolute power of free will. He knows that humans need neither Heaven nor Hell to achieve either the best or the worst. This is the exact meaning behind his famous tirade where he admits that humans completely outdid him by inventing the horrors of the Spanish Inquisition or the atrocities of World War II. For Crowley, Earth is precious precisely because it escapes the rigid, predictable plans of Heaven and Hell thanks to human choice.To see this very same Crowley declare in Season 3 that free will is nothing but "rubbish" and actively accept the creation of a new world is an absolute psychological contradiction. That is simply not him.Crowley has always loathed mass destruction and the sacrifice of innocents to serve some "higher purpose." From the very beginning, during the Deluge, he shouted his incomprehension at divine cruelty while watching Noah's Ark:
“You can't kill kids!”
Crowley is the demon who refuses the slaughter of the innocent, whether in Noah’s time or during the trials of Job. So, how can this same character now validate a plan that erases billions of human beings and condemns to non-existence the children, adults, and friends he spent centuries alongside? He who refused to let a single child be harmed under the Old Testament now agrees to sacrifice the entirety of humanity just to secure his own artificial safe haven. By making Crowley an accomplice to this cosmic tabula rasa, the script breaks his moral compass and betrays his finest quality: his rebellious humanity.As for the choice not to include a real kiss in the final timeline, it leaves an open wound.
The only kiss the audience will ever have witnessed remains the one from Season 2: an act of desperation, a painful last resort. The contrast feels incredibly cynical when one recalls Amazon Prime’s marketing campaign on Instagram, which tried to sell the romance of the script's stage directions for the garden scene just to mask the utter lack of emotional fulfillment in the actual broadcast.
IV. The Betrayal of Job: Replacing is Not Repairing
The greatest shipwreck of Season 3 lies in its philosophical message, which completely tramples on one of the most beautiful moral lessons of Season 2: the Job episode.In that biblical minisode, Heaven and Hell cruelly agree to destroy Job’s life, kill his children, and then simply "give him new ones" as if they were nothing but commodities or interchangeable objects. Faced with this bureaucratic horror, Crowley and Aziraphale unite and rebel. Why? Because they refuse to let those children die. They understand that a human being is unique and irreplaceable. Giving Job new children does not repair the loss of the old ones; it merely masks a crime under the illusion of divine generosity. For Crowley and Aziraphale, the entire purpose of their existence on Earth has always been to protect, preserve, and repair what already exists, never to destroy in order to replace.Yet, that is exactly what they agree to do in the Season 3 finale. By acquiescing to the creation of a "new universe" to run away from their problems, they surrender to the cold, accounting logic of Heaven that they once fought against. It is the return of Archangel Gabriel’s doctrine: We are replacing the dead world with a new one, what’s the difference? The difference is humanity.This narrative choice also revokes the ending of Season 1. When the young Antichrist, Adam Young, faces the Apocalypse, he uses his boundless imagination to save the Earth. Fortunately, he does not create a perfect, sanitized, brand-new world: he restores the old universe back to normal, complete with its flaws, its chipped teacups, and its imperfect humans. Crowley himself displayed this rebellious imagination by driving through the flaming M25 at the wheel of his Bentley. In Season 3, this imagination has burnt out. Worse still, God explicitly offers them the option to put everything back in place to *repair but they refuse and choose creative destruction instead.
At one point in the finale, when they want to call upon God, the script tries to give a nod to Season 1 by showing that imagination and will can still bend reality: if you decide a blank notebook is the Book of Life, then it becomes just that. This rule is reintroduced with great fanfare to make us believe our heroes have found their creative power again.But the illusion deflates immediately. Five minutes later, this very same logic is thrown in the trash. When it comes to saving the old world, preventing the genocide of humanity, or preserving their own memories, suddenly, imagination no longer works. They become utterly powerless and resign themselves to destruction.This is a glaring logistical inconsistency (or rather, a clumsy narrative convenience): imagination works only when the script requires a brief "magical" moment or a quick trick, but it shuts off the moment it threatens to solve the actual problem and prevent the tragic ending the writer was stubborn about executing. It completely reinforces the reality that this finale is rushed and contradicts itself from one scene to the next.
V. The Erasure of Characters and the Paradox of the Absurd
While Aziraphale, Crowley, and Muriel are fully aware of the cosmic transition taking place, the fate reserved for the rest of the secondary characters is a piece of narrative violence. Major figures who grounded our attachment to the show like Maggie, Nina, Anathema, Newt, but also Beelzebub and Gabriel, as well as Shadwell and Madame Tracy (whom I love so dearly)were wiped out in an instant, stripped of their memories, their past, and their very existence.Granted, the story shows us that they "find each other again" in some form within the new world. But from a writing standpoint, this choice is an absolute failure that runs into a double, insoluble paradox:
-First option: If they possess the same soul in the new world. If these characters are destined to meet and lead the exact same life without having chosen it, it means the new world is governed by absolute predestination. Free will is dead, and humanity is nothing more than a puppet show orchestrated by God.
-Second option: If these are not their original souls.Then the conclusion is even more horrific: this finale depicts a senseless cosmic genocide. The entirety of humanity and the beings we grew to love were purely and simply killed, erased from reality. They were replaced by substitutes, carbon copies meant to populate a counterfeit world that thinks like ours, but is no longer ours.It is a deeply horrifying and cynical outcome. This mass sacrifice fixed nothing, achieved nothing, and completely diverges from the moral trajectory and evolution of Aziraphale and Crowley. It was all for nothing. It retroactively means that everything we followed from the very beginning never actually existed in our reality, stripping the series of all its historical and emotional weight.
VI. The Neil Gaiman Syndrome, or the Contempt for Comedy
This conclusion felt strangely reminiscent of the series finale of *Lucifer*, another show tied to Gaiman's universe. We find the exact same mechanics at play: a show that is initially comedic which, for its denouement, introduces a gratuitous, circumstantial, and pointless sacrifice, solely to buy itself a fake sense of gravity and give the illusion of high stakes.For Neil Gaiman, a memorable ending must apparently be definitive and completely stripped of comedy, as if the seriousness of a narrative can only be felt through absolute drama. This feels like an insult to the genre of satirical comedy that belonged so uniquely to Terry Pratchett. Here, humor no longer drives the story forward; it is relegated to a few disposable one-liners. By removing the lightness, you remove the very DNA of Good Omens.
VII. Love for the Cast and Crew Facing the Shipwreck of the Script
While the scenario of this Season 3 is a disaster, we must separate the text from the dedication of the technical crew and the actors.I want to commend director Rachel Talalay, who managed to deliver beautiful, inspired shots despite tight budgetary restrictions and a disjointed script. A massive thank you to Michael Sheen, David Tennant, Derek Jacobi, Doon Mackichan, and the rest of the cast. They agreed to reprise their roles despite the lack of budget, the controversies surrounding Gaiman, and the certainty that this condensed project would not be profitable. They did it out of respect for the audience, out of love for their characters, and out of loyalty to the memory of Terry Pratchett.The story of Season 3 that I choose to remember is not the one written in its script, but the story of the resilience of a crew and a fandom united to deliver a conclusion.
To summarize the violence of a finale that sought to flatten, crush, and replace the identity of its heroes rather than repair it, these few words from *Small Gods* resonate with profound sadness:
“ I could ground them into dust,” said Vorbis. “I would only have to say the word.”-No, thought Om. That’s worse than war.” — Terry Pratchett
How Can We Change This? My Alternative: Repairing Rather Than Destroying
Faced with an official ending that breaks our hearts and denies the core philosophy of the work, what do we have left? As fans, we are entirely free to forge our own canon. Rather than accepting a tragic and cynical outcome, we can imagine a denouement that truly respects the heroes.In this ending which I came up with and which satisfies me perfectly after experiencing the show. Season 2 integrates harmoniously right into the heart of Season 1. After the failure of the Second Coming, Crowley and Aziraphale did indeed swap bodies to face their respective camps. It is at that exact moment, just before they find themselves back on that famous bench at the end of Episode 6 (specifically at the 45-minute and 45-second mark of Season 1, Episode 6), that all the events of Season 2 actually take place.In my rewritten version, the ending unfolds like this: Season 2 begins, plays out, and after Aziraphale departs for Heaven, he goes there off-screen to play his cards. Thanks to his genuine benevolence and eloquence, he successfully convinces the celestial authorities to definitively abandon the Second Coming, breaking the cycle of destruction once and for all.Once this is achieved, he swaps bodies with Crowley yet again. Being a smooth talker, Aziraphale is best suited to go down and convince Hell to abdicate in turn a diplomatic task far too delicate for Crowley's impulsive nature. With peace permanently sealed between both realms, the universe is saved.The story then catches up with its original course as the two companions reunite on the bench in Season 1 (at the 45-minute and 46-second mark). Far from being clouded by any heartbreaking goodbye kiss, this scene becomes a pure celebration of their survival. They then decide to head off to the Ritz to toast their victory. Even if Crowley's forgiveness toward Aziraphale is not explicitly voiced right then and there, their shared happiness foreshadows a certain reconciliation. As for whatever follows next within the privacy of the bookshop or the flat, it will forever remain theirs and theirs alone.
I still had so much to say, but unfortunately a blog post has a maximum number of words.Take care of yourself, don't forget all the good things Good Omens has brought.🩵
10/10, no notes
The finale Aziraphale was not our Aziraphale.
I keep thinking about how Aziraphale, when Crowley did not immediately leap to his feet to help him, just turned around and walked away.
He didn’t try to help him up. He didn’t crouch down to his level. He didn’t even look remotely pressed, and he left Crowley lying there, depressed and dirty and drunk and barely conscious, like he was a piece of trash. Like he meant nothing. (I also haaaaate what they did with Crowley here, but that’s another post entirely)
To think they made Aziraphale into the villain so many people thought he was post s2, and for what? To what end? For what reason? It feels so unnecessarily cruel. So callous. So very much not Aziraphale.
“But Crowley told him to go away! Aziraphale was just respecting his boundaries!”
Nah. No. I mean maybe if Crowley was just chilling having a drink somewhere all upright and not covered in shit and mired in despair, then fine. But he’s lying on the fucking street in the alley muttering that nothing matters anymore. I would argue that when someone you care about is THAT depressed and THAT deep in a dark, dark place, that is precisely the time to ignore their attempt to shove you away. At the very least you reach out to them, anyway.
Was that angel the same as this one? This soft but fiercely tenderhearted sweetheart?
Are we supposed to believe this was that same angel we watched walk away from the same demon he guided through that Edinburgh cemetery with firm but careful hands before he was snatched down to Hell?
Out of all the possible things that could’ve happened in the finale— of all the possible endings and scenarios I thought about for months and months— one thing I never even considered to be remotely possible about this angel who always looked at Crowley like he was everything?
I never thought that Aziraphale wouldn’t help Crowley up off the ground.
And apparently, neither did Peter Anderson Studio.
Why that scene didn’t happen this way in the actual film, I’ll never understand. I’ll never understand pretty much any of the finale because it is so fucking nonsensical in every way, but they butchered the characterization so badly it’s almost impressive. It’s sickening. I have been trying to write a version of this scene that fits with the characters but the words won’t come. I’ll keep trying though.
Yes! The finale was clearly written by people who absolutely hate everything about Good Omens.
Good Omens au in which they are fucking from very early on because they have a drunken conversation that goes something like this:
Crowley: "So, if everything is part of Her plan, if everything is predetermined... Nothing we do can ever be outside of her Will, right? Anything we do is because she planned it that way."
Aziraphale: "Uhm... I guess?"
Crowley: "So we can do anything we want. Anything at all. No reason to hold back, because if she didn't want us to do something she'd stop us, right?"
Aziraphale: "I mean, when you put it like that..."
Crowley: "Come on, angel, surprise me. Tell me something that you've always wanted to, and we'll do it."
Aziraphale immediately jumps Crowley's bones. They don't talk much after that.
If I was allowed to change something about this finale we got but wasn't allowed to alter the plot... I would've loved them to hug so, so tightly before they started disappearing. For a long moment. Just have them melt into a hug, as a tender goodbye. Maybe a quiet exchange like 'I'll find you,' 'We'll find each other,' something simple. And then we'd see the particles that made them floating away, mixing together.
Yeah, I still wouldn't be happy with the ending, but that simple gesture would've made it way better
I'm not sure the writers bothered to watch their own show because how are you gonna make a whole episode focusing on Job and Sitis, the most devoted followers, cursing God for killing their children and trying to replace them with new ones as a "reward." Crowley and Aziraphale spend 20 minutes trying to stop that from happening because they know it's wrong and nearly dying in the process. The circumstances frame the angels as blind to human emotions and centered around quantity rather than quality and love. It doesn't matter if they'll have more children. They're not THEIR children, they're not the same people Job and Sitis have loved so much for so many years.
Then the finale drops. Crowley and Aziraphale are erased because... the fans were too loyal and we deserved this? and they're replaced with Anthony and Asa. And we're supposed to... be gaslighted that this is the happy ending?
YESSSSSS!!!! The whole point of Good Omens is that it's better to improve what you have than destroy it and start over! And yet that's exactly what happens in the finale!!! It could've been so creative and surprising, but it was flat and ultimately pessimistic.
Hah, I wonder when Death came for the Satanic Nuns, Sister Mary asked for Coffee instead.
Thus, Nina woke up one day with a shop and some of the most Obnoxious White People doing White People Bullshit she keeps getting pulled into.
Alright yeah I’ll add this into my personal canon
My longstanding theory about Nina and Maggie is that somehow, when Crowley and Aziraphale both performed miracles upon Nina in Tadfield, the conversation they had influenced reality later. Nina mentions, when handing infant Adam over, that she wonders if he will remember her, later. What if he does? What if, when making up the world as he believes it should be, he remembers her-- and Maggie?
Aziraphale says "you must have had records" and Nina, hypnotized, responds "yes, we were very good at keeping records". Keeping. What does Maggie's record shop notoriously not do? Sell records. She is the record-keeper.
The nuns' records at Tadfield were destroyed in a (hell-made) fire. When the world is remade to Adam's preference at the end of S1, he restores the records and puts them back. He just puts them back .. slightly differently. It's an 11 yo child's understanding of records, tucked back into reality safely, placed right back into a space that had been destroyed by a fire.
Aziraphale's bookshop.
Nina not having a job at the nunnery except to provide refreshments-- carries over too.
Anyway.
There's so much detail and love in those damned seasons. I'm genuinely so furious that now I'll never know.
That's genuinely so smart, and before Season 3 I would've believed it was intentional, but here we are...
I'll never get over how imaginative, creative, and just generally brilliant this fandom is.
My opinion about GO3 is irrelevant but can we celebrate one excellent thing that came out of this 10 years roller fucking coaster : David Tennant and Michael Sheen. The fact that this story brought them together, that they and their respective people love hanging out, love working together. There is love. Here they are holding hands on their lil chairs at the end of it all. They are fantastic actors. I hope there will be more pieces of media with them in the future.