"In every universe" EXCEPT THE ONE THAT MATTERED
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"In every universe" EXCEPT THE ONE THAT MATTERED
The fact that Gabriel and Beelzebub "found something that mattered more to them than choosing sides" and go to alpha centauri just proves that there doesn't HAVE to be sides but can still be immortal beings.
There were so many ways around that ending and they took none of them.
There were so many
ways around that ending and
they took none of them.
Beep boop! I look for accidental haiku posts. Sometimes I mess up.
Okay, it's an official pattern now.
This is an advanced-level (or maybe adventurous intermediate) cable motif 52 rows high, that starts and ends with 19 stitches. It assumes k
The Book is Gay as Hell (and Heaven)
Interpretations of the Good Omens book, particularly the relationship between Aziraphale and Crowley, as being an allegory for Cold War era tensions and not a book about romance and love are funny to me because. It's both. It's both. It's ALWAYS been both. That's the POINT.
The choices made by Sir Terry when writing about Aziraphale and Crowley's relationship are extremely deliberate. All of the symbolism and metaphors have double meanings. Because they're spies. They speak in coded language. Everything is shrouded in plausible deniability. It's extremely clever, and it's a very, very loving depiction of homosexuality in a time period that was desperately cruel to queer people.
Take the excerpt about the Gavotte, for example. Aziraphale learns it in a discreet gentleman's club, aka a gay club, in the 1880's. And this is important. People who've seen the show likely know the context of the gavotte as the "kissing dance" whereby people dance with a partner and then kiss at the end, or exchange flowers. That would be the pre-19th century Gavotte. The 19th century Gavotte was more like a military-style march, and it's described as a dance used in events revolving around martial prowess and national pride.
I thought it was extremely cute that the book, when describing whether or not Angels could dance, went out of its way to be like "HYPOTHETICALLY Aziraphale CAN dance on the head of a pin... Only the Gavotte. But he'd need a partner that could also HYPOTHETICALLY fit on the head of a pin. Have we mentioned that demons love to dance and can fit on the head of a pin?"
Again, Aziraphale and Crowley act in ways around each other that exude plausible deniability. It's showing that they got together for business reasons but have a deeper desire to be with each other romantically. But because of their jobs, they can't be open about this at all. In fact, they would quite literally be destroyed. This is a DIRECT commentary on how LGBTQ people were treated at the time. Thatcher-era laws against homosexuality made tons of people retreat to the closet, lest they lose their jobs, be outed to their families and cut off, or worse. Homosexuality was technically decriminalized at the time, but the social implications of being gay were so extreme that it might as well as have been illegal still.
I have shitloads more examples if anyone wants me to go on a spiral about it, but this was a big one that I felt was easiest to pinpoint my thoughts about.
In a period where people already feel trapped by institutions, authoritarianism, inequality, ecological dread, etc., it's no wonder the "your only hope is obliteration" ending is landing so badly. A story that once said: "the world is flawed but worth saving" suddenly pivoting to: "burn it down and maybe something better comes after" doesn't hit me as beautiful and profound. It hits me as bleak and nihilistic.
The Malice of the Finale from Gaiman
Despite the fact that Gaiman didn't write the final script, it was based on 6 finished scripts he wrote, so it feels safe to assume the core ending was his idea. Former fans of his writing said the ending's nihilism felt like something he'd do. Various facts such as director Rachel Talalay saying there was no kiss in the script and she was told she couldn’t add one, Gaiman basically saying post-s2 about the kiss that he wanted a way to give fans what they wanted without giving them what they wanted, and David Tennant telling fans at a convention back in 2024 that the ending might not be what fans wanted, indicate that Gaiman never intended to give Aziraphale and Crowley the happy, romantic ending he chose to set up.
The question is: why would a writer do this? In response to shippers back with the first season in 2019, Gaiman could’ve simply said, “I understand fans feel very passionately about their relationship, but Terry and I didn’t write it that way and I don’t want to rewrite their dynamic without him here.” But he didn’t do that. He played a fool by twisting himself into knots to say he wrote them secretly holding hands and would comment on fan posts “confirming” their headcanons, and then went out of his way to textually change the dynamic with an explicitly romantic kiss at the end of s2, but evidently, had zero intention to make them do it again, perhaps not despite fans wanting it, but due to fans clammoring for it. But let's emphasize this: no one made him do this! He could have capitalized on fan excitement and shipper feels, written two more seasons full of subtext, and never changed the nature of their relationship. The finale’s human marriage is cute, but he must have known it was not what fans wanted with the cottage. The lack of kiss and verbal love confession, along with him killing the audience's version of the characters, feel deliberate. You have to go out of your way to squander the s2 cliffhanger and not make them kiss again, kill the version of the characters everyone loved, and screw with the cottage ending
I saw great tags about this on a post that had reblogs disabled, so I assume the OP doesn't want attention and I won't mention their url here. But they were right: Neil Gaiman simply lied to the fandom. He lied about Good Omens always having been a love story, he lied about bringing Aziraphale and Crowley together romantically being Terry Pratchett's dying wish, and he lied about fans' headcanons being true. Obligatory disclaimer: what he did in real life to women is on a different level and cannot be compared to writing choices, but this lying is not unrelated to his sinister side. He was manipulative and calculated towards his fan base (and the tumblr fan base primarily consisted of women), and knew exactly what he was doing. He got off on fans worshipping him and seeking his validation, but had enough disdain for them to openly say he didn't want to give them what they wanted even though he knew how much it meant to them. Writers aren't obligated to give fans what they want, but again: he went out of his way to pander to fans at the end of s2. You can't do that, hang around fans on tumblr to drink up their praise, and turn around and say "nah, fuck the fans" after that, unless you're actually an asshole who enjoys toying with people. I don't believe he intentionally made the ending bad—I think he's enough of a hack that he thought the retcon would be a good plot twist—but I do think he intentionally fucked with fans when he rewrote the premise of the cottage and didn’t make them kiss. Can’t you picture a real-life abuser wanting to mindfuck a bunch of women, especially when he did literally abuse some fans? Keep in mind this is the same guy who wrote a gomens movie script in the 90s out of spite, too
You know, there are some YouTube video essays talking about other showrunners being shitty towards their fan base, and a lot of those have little actual evidence. This, however, should be a case study in a creator who hung around tumblr way too much to soak in fan worship turning around to spite them. I don’t think people who never saw his weird behavior on tumblr truly get it. I did not know Gaiman was secretly a violent man, of course, but I did see him as a liar who had a big ego and loved attention from fans to a creepy degree way back in 2019; when he made them kiss in 2023, I thought his desire for fan worship outweighed his obvious discomfort with fans reading Aziraphale and Crowley as gay, but it really should not be surprising that he did not intend to give these characters the kind of happy ending the fans wanted, because he never wanted it and he clearly resented fans who said the "representation" in s1 wasn't enough. But like I said: no one forced him to write the characters kissing! This was so deliberate and feels so malicious.
Spoilers and full S3 rant below!!!
Turns out I cannot stop disappointment posting, especially after getting some sleep and really being able to think on all the reasons why the ending fundamentally bothered me so much.
One of the biggest ones is the strange turn in the depiction of the GO god.
Because both sides, under the guise of being forced along by a divine plan, were in fact making all the wrong decisions of their own free will exactly like humans do.
From all the mentions of them in the book, to the actual voice we get to hear in the show, I was SO sure and felt it was so canon that the natural direction the show was leaning towards was the concept that angels and demons did have free will.
The ending of the book and S1 reinforce this especially. Everyone is convinced Armageddon has to happen! They tell Adam over and over again that this is the way things are, its part of the plan, and as supernatural beings, they all have no choice but to follow it.
But Adam doesn't. He says nope that's wrong, and does things his way. Even Aziraphale and Crowley. They act against their orders for years, sneak their way out of their executions, and this seemingly omnipresent god doesn't do a thing themselves in response despite all this supposedly being their will.
Then season 2 rolls around and Gabriel goes missing. THEE supreme archangel. Only for it to turn out in the end that he chose to do his own thing, as did beelzebub. They both turned against their orders and "purposes", and once again, there are no consequences beyond those attempted to be imposed by their immediate peers/coworkers. The almighty couldn't seemed to have cared less.
Even when the "bet" in regards to Job is falsely won. There's no way that god didn't know, and yet victory was still claimed and rewards were given out accordingly. I'll die on the hill that that was more of a test of the angels, and what they'll let happen, than it was of Job himself. And Aziraphale and Crowley are the only reason they passed, because they used their free will to do the right thing.
The series was moving in the perfect direction for the message to be that everyone has free will. That the angels and the Metatron especially were an excellent parallel to humans who do hateful things in the name of religion and claim the moral high ground because they're just following the will of a higher power.
But instead we got the bookshop scene and the last 30 minutes and a god that's holding the world and our angel and demon at gunpoint, telling them this is the way it has to be, and being very nearly cruel in her comments about Aziraphale's love for Crowley and how this story has to come to an end.
They should have kept her a mostly passive force in the story, it ruins so much of the series charm. The S1 and 2 almighty would never.
Instead, they should have put the responsibility on the angels and demons to fix things. Show them all that they do have the choice to make things better. That they can follow the example of Gabriel and Beelzebub and Aziraphale and Crowley. That there were consequences for the archangels coldness, and demons that can love despite their damnation
Like what was the point of going out of their was in S2 to show us that Aziraphale and Crowley were NOT outliers in their independence???
But nope sorry, just erase it all, yep!
Yes! Book!Omens God was very distant, detached, un-knowable. Season 1 God was mostly used as a device to keep some of the narration from the book. It was a terrible mistake to make God anything more than a dramatic light and a voiceover, let alone make them into such an arbitrary and vindictive plot-shoving device.
"We can't give up now."
Rewatching Season 1. Remembering Aziraphale’s line from the end:
“We can’t give up now.”
They never gave up. They fought. They fought to the very end. Even when they thought there was no hope. Even when it felt like the light was fading.
They always found loopholes. That is exactly what their story is about.
They would never have allowed everything and everyone they fought for to perish. Because in that “nothingness,” there would be no classical music or Queen, no restaurants where they’re known by name, no old bookshops. No funny, strange, contradictory people they came to love so deeply.
And there would be no them.
They feared for each other’s lives until the very end. The entire first and second season is saturated with them doing everything to save the other, in one way or another. Crowley’s death for Aziraphale would be as devastating and annihilating as Aziraphale’s death for Crowley.
Without Aziraphale, Crowley doesn’t need Earth. He doesn’t need the universe. He doesn’t need anything. We see this in Season 1 when he thinks Aziraphale is dead. He goes to drink; he doesn’t care that the end of the world is only hours away. He takes that random (as he believes) surviving book from the fire just to keep a piece of Aziraphale close until everything ends. Without Aziraphale, he sees no point in anything.
He doesn’t love humanity and the world more than Aziraphale. He loves humanity and the world as much as he loves Aziraphale, and maybe he loves Aziraphale even more than humanity. And without one, he doesn’t need the other. Or at the very least, he cannot be happy without either of those two things. He is completely unable to be happy.
Aziraphale was his meaning, his light. The one who showed him he wasn’t alone. The one who gave him the strength to keep fighting. And Crowley gave him the same in return, with equal intensity. In Season 1, he almost gave up only because he didn’t know Aziraphale was alive. He thought his light was gone. Then he was in darkness, alone.
But the moment he realized Aziraphale was alive, it immediately gave him the strength to keep fighting. To fight until the very end. It gave him hope.
This. Story. Is. About. Hope!
I will never believe that, having the chance to save each other, to preserve each other, they would choose to die. To let each other die. I will never believe that.
As long as they were together, they wouldn’t have given up.
But they gave up while standing physically side by side.
It looks like Crowley's hair is crimped in a behind the scenes picture and it really made me laugh I had to draw about it
Today's vent:
tbh my biggest problem with go3 is that aziraphale and crowley do stuff that affects the plot and actually makes a difference in the story #notmygoodomens. my ineffables do NOT save the world, they are there while the world is saved
you’ve taken the two most useless beings in existence and you made them make a decision. look at them. they’re suicidal now
Glass Clock, 2008
So biblical angels are eldritch horrors with dozens of eyes and flaming appendages and whatnot, does that mean when these ineffable losers (affectionate) eyefuck over the table at the Ritz they’re metaphysically boning? If yes, does that mean they basically never stop fuckeyes fornicating with each other? Asking the important philosophy questions here
or is crowley just cry-yearning on every possible level
To the Good Omens fans who have read more Discworld books than I have (which I’m ashamed to say is none at the moment - that will be changing):
I don’t know where I saw it now, but I think someone identified Thief of Time as one of the books prominently displayed on the shelf behind Derek in the blue bookshop.
Anybody have thoughts on why that particular book would be used as an easter egg? (Like, for example, if there was supposed to be a plot line about a kid who changed reality once upon a time and didn’t realize the downstream effects. Just as a hypothetical.)
Ooooh, I have many thoughts.
One of the major plot points of Thief of Time is about the granddaughter of Death meeting the son of Time. They are both partly/mostly human, and both have some difficulty dealing with the mundane world. They get to have a happy ending.
The personification of Time has a vast palace made of glass, with infinite rooms, each containing a perfect moment.
Time's job is to entirely destroy the universe at every moment, and re-create it at the same moment, with infinitesimal changes. All the moments added up create reality as most people experience it.
There's a lot of stuff about fractals and chaos, which Pratchett liked (at least enough to mention them in a couple of books), and which are a special interest of mine. I wish I had the time it would take to write a proper essay about a fractal view of the world/the universe, and what kind of perspective it could have on the God of Good Omens. And how it fits in with a secular/humanist/atheist take on religion.
Long ago, in the happy days that followed the original Good Omens adaptation, there was a post circulating about how we'd all collectively decided that Crowley was a little snake with glasses, despite him never actually being a little snake with glasses at any point in the show.
I can't find the post (does anybody have it?) but I did find the place where Crowley is a little snake with glasses, and it's in the woodcut-style drop caps in my edition of the book.
The Great Schism
As the fandom devolves into sectarianism...
Got me thinking of all the religious-theme names we could have for pro- and anti- go3 groups. Given christian religious history there's a lot to choose from!
Heretics / True Believers
Apostates / The Faithful
Iconoclasts / Orthodox
Could we be the only fandom on AO3 with a meta-level #heresy tag?
sorry have moved into my shitposting era
If you have to come up with headcanons and/or theories to enjoy the finale, then you didn't enjoy the finale. There, I said it.