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forineffablereasons · 9 months

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Oh, Crowley. Nothing lasts forever.

I think the entirely of Crowley and Aziraphale's interactions in the Final Fifteen™️can be summed up by the idea that they are talking past one another, failing to fully understand each other, but I want to talk about this line in particular. This isn't a full analysis of the scene - just this isolated bit.

Crowley: ...If Gabriel and Beelzebub can do it, go off together, then we can. We don't need Heaven, we don't need Hell, they're toxic. We need to get away from them, just be an us. You and me, what do you say? Aziraphale: Come with me. To Heaven. I'll run it, you can be my second-in-command. We can make a difference. Crowley: You can't leave this bookshop. Aziraphale: Oh, Crowley. Nothing lasts forever. Crowley: No. No, don't suppose it does.

As methods of occult/ethereal communications go, the metaphor is quite versatile.

Crowley is saying: stay here with me. We have this enclave. We can be together properly now - stay here with me. Never mind that they have not actually made any progress on this in the last four-ish years since the end of the world. Never mind that Crowley is so stagnant that four years after the end of the world he's still living in his car.

Keep in mind that Aziraphale didn't have the benefit of Nina and Maggie's intervention - Aziraphale doesn't see this as a confession under Crowley's own initiative, he sees it as a response to what Aziraphale is saying. Aziraphale says, let's go make a difference, and Crowley is sort of forced into taking this position as an alternative offer - to Aziraphale, it looks almost like a temptation. Nothing changed in the last four years, but now that Heaven needs you (and we must give Aziraphale the benefit of his belief that Heaven truly does need him, even though this is clearly a manipulation), I'm ready to move forward, don't you want to stay, don't you want to deny Heaven and exist with our heads in the sand?

"Oh, Crowley," Aziraphale says. "Nothing lasts forever."

To Crowley, who is offering himself and this enclave, this bit of existence that can just be theirs - nothing lasts forever is an obvious smackdown: not even us.

That's not what Aziraphale is saying, though. What Aziraphale is saying is, we can't live like this forever. If we want to protect it, we have to change. Nothing lasts forever isn't a betrayal or a resignation - it's a sacrifice. Aziraphale cares so much about Earth, about fixing Heaven, and about Crowley himself that he's willing to give up the bookshop and their enclave on Earth in order to save it.

They cannot just maintain the status quo. It's been four years since Armageddon and nothing has changed, and keeping on ignoring Heaven and Hell didn't work! It didn't work! They were on their own and here's Heaven and Hell again, in their business, dragging Crowley back to Hell, dragging Aziraphale back into Heaven's politics. Four years was all they got. Four years, and they were under threat, risking each other, risking their very existences. They can't sit in their enclave and pretend it won't happen again because it absolutely will.

Aziraphale spends a lot of this series burying his head in the sand. If he can just hide Gabriel, everything will be fine! (It won't - he'll still have Gabriel.) If he can just make Maggie and Nina fall in love, everything will be fine! (It won't - he'll still have Heaven and Hell waiting in the wings for the next suspicious event.) If he can just get everyone at the Jane Austen Ball, if he can just keep the demons out, if he can just ignore it, it will go away! If he can make the participants know the steps to the dance and if he can control the lingo, he can create a new fantasy world for them all to live in and everything will be fine!

It won't. Aziraphale isn't in control. Aziraphale can't stop this. Aziraphale can't protect himself, and he can't protect Crowley to the point where he has to let Crowley leave him and work a plan on his own. He's a principality, and he can't protect the things and the people he loves.

Then the Metatron walks in, makes a point of validating all the things Aziraphale loves - coffee (food/drink), Crowley (your demon can recognize me even when these angels can't), the shop (do you need to take anything with you? I've made sure the shop will be safe), separates Crowley from Aziraphale - Crowley, Aziraphale's guiding light in all those minisodes, Crowley, the one being Aziraphale trusts - and then.

And the Metatron offers Aziraphale the control he's been missing all season.

Nothing lasts forever. We can't survive in this enclave forever. If we stay here, it will all end. If we stay here, I can't protect you, or humanity, or any of it. I have to try, we have to try, because no one else will, and I'm willing to give up my freedom and my bookshop if it means I can save everything. I want to save it with you, I want you to be with me, I need you, I need us, but--

If I can save you, even if it costs me us, at least you'll have survived.

If that's the price, well. Nothing lasts forever.

#good omens s2 spoilers #go s2 spoilers #go s2 #good omens #ineffable husbands

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jobean12-blog · 2 months

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Claimed

Pairing: Bucky Barnes x female reader (Mob/Mafia AU)-Bookshop setting

Word Count: 3,513

Summary: Bucky has had his eyes on you for a long time and when he finally makes a move to claim you he's delighted at how easily you fall into his waiting arms.

Author's Note: Seb's new looks have just been so yummy, especially him in a bow tie. I LOVE! The look in the pic below is the end result of the story🫠It isn't really focused too much on his mob status but it's there and I couldn't resist a little bookshop AU in there too! Thank you all so much for reading! Much love always! ❤️❤️❤️Divider by the lovely @firefly-graphics thank you Daisy! 🥰

Warnings: flirting, tension, Bucky is pretty forward/dom and doesn't mince words- he goes for what he wants-light d-irty talk, fing-er-ing, o-ral (f rec), but he's sweet too :)

Your steps are slow and easy as you stroll through the aisle, perusing the titles and letting your fingers delicately slide across the bindings.

When you find one of interest you pull it from the shelf and before you read even one word you press the aged pages to your nose and inhale deeply.

The sound of a light chuckle pulls you from your aromatic reverie and you look up with a start, catching a man watching you with a lopsided smirk.

He nods a hello before disappearing down the next aisle. You stare at the space he just vacated and feel your skin heat.

Was he really that handsome or are you still recovering from the exquisite smell of the pages of the book? Only one way to find out.

With quiet movements you slip past the end of the fiction section and turn the corner, peeking around the next bookshelf. All you see is a young woman searching through the books.

Denying your disappointment you continue down the aisle but slow when you feel the weight of eyes at your back. Instead of turning around and looking too obvious you quickly glance over your shoulder and see the mystery man once again watching you.

He looks even more handsome than he did two minutes ago.

You almost walk into the woman who’s browsing and give her a startled apology before rushing off to hide in the rare book section.

Letting out a rush of breath you clutch a book to your chest and refocus on your surroundings.

“This is my favorite section.”

You spin on a gasp and blink.

“Excuse me?” you say quietly.

“This section,” he says again, “it’s my favorite. I love old books.”

“Oh,” you answer, backing away as he steps closer.

He stops advancing and looks at the shelf, studying the bindings until he finds one that interests him.

“Mine too,” you concede softly. “And they smell amazing.”

“As good as the books in the fiction section?” he asks, eyes dancing with amusement.

You let out a light huff of laughter, feeling warm embarrassment creep over your skin.

“Better,” you finally answer.

“I’d have to agree with you there,” he says before lifting the book he holds to his face and inhaling.

You can’t stop your small intake of air as you watch him savor the smell of the pages.

“So, do you come here often?” he asks, casting his gaze down to the words.

You let his question hang in the air as you take a moment to really look him over. His soft sweater does nothing to hide his broad shoulders and powerful build and his dark hair and beard frame a beautifully sculpted jaw.

Then he lifts his eyes, directing his steady gaze on you, and your breath catches in your throat.

“Um…I do. It’s my favorite book store. I can’t afford any of these books,” you say as you motion to the titles nearby, “but no one seems to mind that I come and spend the afternoon reading them.”

“I don’t see why anyone would,” he replies.

He places the book back on the shelf and slides his hands into his pants pockets, attempting another step closer.

This time you don’t move away and he smiles.

“I have quite the collection myself,” he informs you. “You should come see it.”

“Are you a collector?” you ask.

“Something like that doll.”

You school your features at the sound of the endearment falling from his perfect lips and smile.

He extends his hand.

“James Barnes. But you can call me Bucky.”

“Hi Bucky.”

You give him your name and he takes your hand in his, bringing it to his mouth and lightly brushing his lips across your knuckles before kissing them.

As you stare at him through your lashes his lips linger and he seems unwilling to let go of your hand.

“I mean it you know. You’re welcome to come see my collection…anytime.”

He slowly releases your hand with a wink then turns on his heel toward the doorway.

“But…,” you start, not even sure why you’re calling after him to ask your next question, “how will I find you?”

He turns to face you, his eyes set with determination, and says, “don’t worry doll face. We’ll be seeing each other again very soon.”

With those parting words he vanishes into the maze of books, leaving you caught between feeling frazzled and turned on.

After several days of warm sunshine it finally ends in a wash of chilly rain and wind. But you’re warm and cozy in the back of the bookshop, curled up on one of the old leather chairs by the window, reading by the soft light of an antique tiffany lamp.

You’re so engrossed in your book that it takes you several minutes to recognize the familiar feeling of his stare and when you look up you find Bucky leaning against a nearby bookshelf, his arms crossed, watching you.

He looks just as good as he did the last time you saw him and you realize you’re staring back.

“Hey,” you whisper, clearing your throat.

“You must really be enjoying that book,” he says, a smirk pulling at his lips.

“I am. Have you read it?”

“Not this one,” he says as he steps closer and reads the title.

His nearness draws all of your attention from the book and for the first time you take notice of the small patches of gray hair that line his beard.

“It’s worth a read,” you tell him when your eyes meet his again.

“I’ll definitely check it out doll. I’m currently reading the first edition of ‘The Canterbury Tales’ by Geo…”

“Geoffery Chaucer,” you finish in a rushed breath. “Oh my god. You have a first edition!?”

Your eyes go wide with shock as you silently contemplate how much money that must have cost him.

“But…but…”

“I told you doll face, the old and rare books are my favorite.”

“I haven’t read that one yet but it’s on my list.”

“Well you’re welcome to my copy when I’m done,” he says, smiling widely when your mouth opens in shock. “But I have to warn you that when it comes to such treasures I’m a slow reader. There are some things I like to take my time with.”

As the last sentence leaves his mouth he unabashedly lets his eyes sweep over you. When your head dips to your book under his obvious perusal he presses his fingers under your chin to lift your gaze.

“Can I get you a coffee?”

“A coffee?” you repeat, all rational thought leaving your brain at the feel of his touch.

“They just put a fresh pot on up front.”

“Oh, right. That would be great thank you, let me just get my wallet.”

“No doll. I’ll pay.”

“Well, I don’t mind at all…”

“And I do,” he says definitively. “I offered and I’ll pay.”

“Thanks,” you whisper.

When he returns with two steaming cups of coffee you sigh in contentment.

“Are you always this much of a gentleman to the women you meet in bookshops?”

You ask the question with a playful smile but when his expression doesn’t match yours you instantly regret opening your mouth, your smile wavering.

“Despite my offering, I’m having a very difficult time remembering to be a gentleman around you doll.”

“Well maybe I shouldn’t be accepting this coffee then.”

Even though your voice is little more than a whisper you make no move to give him back the drink and instead you lean in closer.

“Maybe you shouldn’t,” he murmurs.

Your breathing accelerates before you take a slow sip of the coffee.

“And maybe I like the coffee too much to give it back.”

“I just warned you that I’m having a difficult time being a gentleman. Are you provoking me doll?”

Your tongue darts out to trace the outline of your lips, the taste of coffee still lingering. “Is that what I’m doing?”

His eyes track the movement and he rubs the pad of his thumb across your bottom lip, looking pleased when you inhale sharply but don’t pull away.

“Let me be clear here doll, since it seems like you enjoy playing this little game with me. I want you underneath me in my bed. I want to be buried so deep inside you that you’ll feel me for days. And I want to mark you so every other man who walks this Earth knows you’re mine.”

Your eyes widen with every word he utters and you feel goosebumps crawl over your skin when he tilts his head and moves closer until his warm breath fans your cheek.

“I just want to be up-front with you. Enjoy the coffee.”

He forces himself away, removing his hand and stepping back. And once again leaves with nothing more that the sound of his retreating footsteps.

Life keeps you busy for the next two days but Bucky’s words are ever present, practically burned into your skin. So when you step back into the bookshop on Saturday evening you take solace in the familiar smells and sounds.

You wave hello to the barista and cashier, noticing their slight mischievous smiles as you pass by. You’re about to ask them what’s going on but then you see him and you know. Even among the shelves of beautiful books and warm lighting he stands out, his eyes boring into you.

The way he stands exudes a quiet confidence and a slow roll of heat eases it’s way through you when his unwavering stare moves over every inch of you.

Lifting your chin you hold his gaze and take your time getting your own eyeful. His button-down shirt is fitted just right with the top buttons open to reveal a gold chain and his long legs are clad in dark jeans.

He looks dangerous and sexy. And pissed.

You move toward him undeterred until you’re close enough to feel the heat radiating off him.

“Are you here to give me more warnings?” you ask.

He keeps his gaze locked on you and licks his lips.

“No. I think I was perfectly clear the first-time doll.”

“Is something bothering you, Bucky?”

“Where have you been?”

You would laugh at his nonresponse if your irritation weren’t growing hotter by the second.

“I’ve been busy. You know…work, errands…life.”

“I’ve missed you.”

You’re taken aback by his blunt and unexpected answer and can’t find the words to respond.

“I was afraid you didn’t want to see me again after what I said.”

You think back on his words for only the millionth time since he said them. An involuntary shiver runs down your spine at the memory.

“Did you get me a coffee today?”

His eyes light up in victory before he reaches behind him and hands you a cup, the drink prepared just how you like it.

For the next couple of hours the two of you browse the bookshop, spending the majority of your time in the rare section pouring over the titles in excitement and awe. You ask about his work and how he gathered his collection of rare books. He’s vague but polite with his answers, focusing most of his attention on you.

While you do most of the talking Bucky listens contentedly and intently, his constant regard slowly building and burning a hole through your enthused focus.

After a bit, it’s difficult to concentrate on anything else but him and you start to become more aware of how your body shifts closer to his, shoulders pressed together, heads close and your hand reaching out to graze his bicep.

Finally, the bookshop employees begin to let customers know they are going to close. You reluctantly put your current read back on the shelf and turn to Bucky.

“Guess it’s time to go,” you say quietly.

“I’ll drive you home doll.”

“No, no. That’s ok. I can take the train.”

“I insist,” he answers, stepping into your space and crowding you against the shelf.

“Ok,” you breathe out. “Thanks.”

His eyes drop to your lips and his hands hover at your waist, his fingertips just brushing the fabric of your shirt when the barista comes by and ushers you out.

With a release of breath you skirt past Bucky and grab your bag, heading for the exit.

Wordlessly, he holds the door of his car open for you, allowing you minimal space to edge by him into the passenger seat.

He breaks the silence with the same question floating around in your own head.

“Am I taking to you home or are you coming to my place to see my collection of books.”

“It’s late but…”

“But?”

“I would love to see them.”

“But you’re still thinking about what I said the other day, aren’t you?”

“Maybe.”

When you don’t say anything more or give him your address he drives in the opposite direction of your apartment. You contemplate your sanity the whole ride there but you’re too far gone to even want to tell him to turn around and bring you home.

His brownstone is gorgeous. Everything from the ornate edifice of the building to the classic tile in foyer exudes luxury and when you step inside the actual space you have to cover your mouth to stop any sound from escaping.

“I’m glad you like it doll,” he says from behind you, his chest brushing your back.

His lips meet the shell of your ear in a whisper. “I can give you a tour if you like or I can give you what you really want first.”

You turn to face him, his gravelly tone bringing several other things into focus. His cheeks are lightly flushed and his breathing has roughened. You sway closer and he runs his finger along your arm.

“The books…?” you question weakly.

“They’re not going anywhere,” he assures you as his fingertips trace your jaw.

“You don’t even have my phone number,” you continue. “We haven’t even been on a date yet!”

He starts to walk, pushing you slowly backward until you enter another room. Without taking his eyes off you he flicks a switch on the wall and the space is bathed in a soft glow, illuminating the ceiling high shelves of dark wood that line every wall. Every space is filled with books.

Your eyes wander for mere seconds before he grabs your chin and directs your gaze back to his.

“I think our bookshop encounters can be considered dates, don’t you?” he says softly.

Just before your back hits one of the shelves his large hand cradles your body, gently pressing you into the books. He leans closer, moving his hands to rest on either side of your head.

“Maybe…”

“Do you ever have an answer other than ‘maybe’?” he asks.

Your lips part to speak but he stops you with the brush of his mouth. “Don’t. Say. Maybe.”

Even though your last two meetings were charged with tension, this is the first time he’s really touching you and it sends shock waves through your entire body.

You breathe out a strangled ‘yes’ and arch into him, inviting more of his touch.

His mouth comes down on yours hard and hungry and the initial contact steals your breath. When you slide your hands over his chest and up to his shoulders, digging your nails into his skin, he groans and pushes you against the shelf.

You break contact with his mouth, gasping at the hardness pressing against your stomach.

“I’ve been like this since the moment I saw you,” he growls. “Do you know what that’s been like?”

He doesn’t give you a chance to answer as his mouth moves to your neck and sucks the sensitive spot underneath your ear, causing you to whimper his name.

Your head rolls to the side, begging for more and you let out a sound of frustration when he rocks his hips and keeps his mouth hovering along your skin.

“Is this what you want?” he murmurs with another grind of his hips.

Your fingers slide into his hair, raking through the soft strands as your breath catches on a gasp.

“Answer me, doll,” he demands.

“Yes. Yes Bucky. I want it.”

His hands leave your body and grip the edge of the shelf behind you. He dips his head, trailing kisses upward along your neck until he meets your earlobe, growling low.

“You’re going to spread these pretty legs for me doll and I’m going to bury my face between them.”

His tone warns you not to protest and with a strangled breath you do as you’re told, your head thumping back against the books when he slides his hand down your stomach.

“Eyes on me doll.”

You look down as he slips his hand inside your leggings, slowly peeling them, along with your panties down to your ankles.

He finds your swollen clit and circles it with teasing strokes, giving you one last hard look before his tongue flattens and he tastes you from top to bottom.

You’re already so close and when he pushes a finger inside you your eyes start to glaze over, your hips rocking rhythmically onto his hand and face.

When he pushes a second finger inside you it sends you over the edge, his tongue working you until your legs are shaking and you’re chanting his name.

“Fuck doll. You coming apart for me is the most beautiful thing I’ve ever seen.”

You start to slump forward, your breathing still ragged and he runs a soft hand along your hip, holding you steady and biting gently into your skin with his fingers.

“I’m going to make you come over and over again,” he whispers as he stands and takes you in his arms, his lips caressing the shell of your ear. “With my fingers, my mouth, my cock.”

“Yes. Please,” you whimper.

He presses closer, his lips teasing along your jaw until your eyes meet. “But first we’re going to have a proper date.”

Your lips part with your objection and you’re ready to beg him for more but he presses a finger to your lips, smiling when you instantly quiet.

“If I get inside you now I’ll never be able to leave and I don’t have enough time tonight to worship you. I have business to deal with.”

Your eyes drop to his mouth and your fingers climb up his chest.

“Ok,” you say, still breathless.

“You’re going to be my date for an auction event I have to attend tomorrow night…and then afterwards we’ll have the rest of the night. And the next morning…all day. You’ll be all mine.”

You nod, unable to find your voice again but squirm against him in desperation, your body still craving more.

“Sweet fucking hell, doll,” he hisses. “Don’t make me rush this.”

He grabs your waist so you stop moving, his eyes wandering over your face before he captures your lips in a kiss.

When he releases your mouth the set of his jaw is rigid and his fingers dig deeper into your skin.

“Tomorrow,” he murmurs. “Be ready by five.”

You stare at yourself in the mirror, smoothing your hands over your dress for the tenth time. Before leaving Bucky’s apartment you had exchanged numbers and several more kisses then he walked you to your door, wasting no time reminding you of his promises for tonight.

Your pulse quickens as his words threaten to consume you and you wonder how you’ll ever make it through the next few hours without throwing yourself at him. His touch was like nothing else you’d experienced. Not one of his movements were wasted and his objective was clear. He was going to absolutely ruin you. And you were ready.

The light knock on your door startles you but you check the clock and see he’s right on time.

“You’re punctual,” you say as you open the door.

He looks amazing and have to bite your lip to stop your satisfied moan.

“And you’re fucking stunning,” he says as his eyes rake over every inch of you.

He continues staring and steps inside.

“Do you plan on looking at me like that all night?” you ask.

“Like what?” he replies as he reaches out for you.

“Like you need to devour me.”

“It’s all I want,” he growls, sliding his hand along the curve of your back to bring you closer.

“Do we really need to go to this auction?” you purr against his lips.

His fingers splay against your back and he brushes his nose to yours. “I do doll face, but if you need my hand between your legs first, all you have to do is ask me.”

Before you can form the words for a weak protest, his hand dips between your bodies and starts to lift the hem of your dress.

“Say it doll. I want to hear you say the words."

“Please Bucky,” you gasp. “Give me your fingers. I need your fingers.”

@randomfandompenguin @hiddles-rose @lizette50 @blackwidownat2814 @buckysdollforlife @littleseasiren @goldylions @kmc1989

#bucky barnes x reader #bucky barnes #bucky barnes x you #mob!bucky #mob!bucky x reader #bucky barnes x y/n #bucky barnes fanfiction #bucky barnes imaginen #mob au #bookshop au #sebastian stan #sebastian stan x reader

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youryurigoddess · 14 days

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The biggest Easter egg yet

I’ve been meaning to address this for a while now, but @camdenleisurepirates gave me the final push after reading my piece on Gabriel’s cross. Huge thanks for that morsel of motivation, my ADHD brain loves you.

This is going to be yet another long read, although not as extensive as my bookshop statues meta. Still, better get yourself some hot chocolate or another drink of your choice and make sure you’re comfortable!

Now, remember the X-Ray interview with Peter Anderson on Easter Eggs in the opening animation he created for the second season? Forget red herrings, apparently our fandom has a literal red phone box! I’m convinced that this whole scene is a one big — the biggest, actually — Easter Egg, and I’ll explain why step-by-step.

The red phone box Crowley used to warn Aziraphale about the Antichrist and the following Armageddon in S1, the exact one where he left change for an emergency call, seems important enough in terms of the future S3 plot, but there’s so much more going on in this frame. Not only the lift.

The angels

At the very start of this sequence we can see a fragment of an elaborate bridge guarded by cherubs sitting on two columns, maybe globes, leading to a distant structure built over a literal mountain of trash — all elements of the S1 and S2 openings which were consciously picked out by the animators and put together in a very ominous pile.

Ready for some scavenging?

In the Gabriel’s cross meta, I already mentioned the importance of Ponte Sant’Angelo in relation to the ex-Archangel’s statue. Now it’s time to widen our perspective and focus on the full picture — quite literally. Apparently the bridge from the opening sequence has ten statues of angels, exactly as the Italian historical monument.

First things first though: the two big cherubs guarding the entry to the bridge might seem familiar to some of you. While they’re obviously not copies of the same statue, a very similar pair of brass cherubs is placed in Aziraphale’s bookshop to symbolize Aziraphale and Crowley. And looking at the screenshot above and the way they sleep or sulk with their backs turned on each other, they are most certainly not talking. The addition of more than one set of eyes is a lovely reference to biblically accurate angel memes though.

If we assume the traditional left-right positioning of the characters, Aziraphale is on the left and Crowley is on the right. Directly behind Aziraphale we can see a ship named “Good Traits”, but in reverse — kinda sorta confirmed by the animator Peter Anderson to be connected to the concept of the seven deadly sins on Twitter. Same that was mentioned recently by Neil in one of his asks.

The presence of Gabriel — a renegade Archangel wielding a broken cross — on the right, Crowley’s side, seems to match this theory. It could also support one of the possible interpretations of the very last bookshop shot in the S2 finale.

Out of all ten statues, Angel Carrying the Cross by Ercole Ferrata is considered inferior to the others on the bridge in that it appears to be a two-dimensional relief sculpture rather than an unbounded three-dimensional artwork, which seems to match Gabriel’s first impression as a character.

The inscription on the statue reads, “Dominion rests on his shoulders" — that is the weight of the cross that Christ was forced to carry through Jerusalem before being crucified. Even though Gabriel’s burden partially disappeared, the whole bridge and its environment is covered with crosses. It’s clear that we’re looking at a direct parallel of Via Crucis, the Way of Sorrows.

Towering over the Italian bridge, at the very top of Castel Sant’Angelo, is a statue of Archangel Michael, seen as the golden angel on the top left part of the trash pile. Aziraphale’s side, perhaps as his assistant, perhaps a rival? Legends of the Jews mention Michael as the chief of a band of angels who questioned God's decision to create man on Earth. The entire band of angels, except for Michael, was condemned to Fall — which could explain why they have such a good access to the Grapevine That Obviously Doesn’t Exist. And whatever’s going on between Michael and Dagon, perhaps.

In Roman Catholic teachings, Michael has four main roles or offices. Their first role is the leader of the Army of God and the leader of Heaven's forces in the final triumph over the powers of Hell. Viewed as the angelic model for the virtues of the spiritual warrior, their conflict with evil taken as the battle within. The second and third roles of Michael deal with death. Their second role is that of an angel of death, carrying the souls of Christians to Heaven. Michael descends at the hour of death and gives each soul the chance to redeem itself before passing; thus throwing the devil and his minions into consternation. In their third role, Michael weights souls on perfectly balanced scales they are often depicted with as their attribute. In their fourth role, Michael appears as the guardian of the Church. Might be the reason why they’re the closest to the building on top of the mountain.

It looks like Michael lost their sword though, just like Gabriel lost a part of the cross he was supposed to carry. The sword in question was supposed to be used to slay the dragon — Satan, the Adversary — according to John of Patmos and his Book of Revelations.

Speak of the devil: interestingly, there are two copies of an anonymous variation of the Angel of Light statue appearing twice on both sides of the bridge. Both the title as well as the statue itself seem like obvious references to one (former) angel literally called the Lightbringer, Lucifer. Perhaps one of them is representing his son, the Antichrist, instead, with the both of them helping out the Ineffables on two opposing — or perhaps only parallel — sides of the bridge?

The light carried by Lucifer appears to be green, a color used in the series as a visual representation of Hell, but on the intertextual level might also serve as a reference to F. Scott Fitzgerald’s classic novel The Great Gatsby and the green light at the end of the Daisy’s dock symbolizing the undying love, desperation, and longing for an unattainable dream. In the story, the color represents the limitations of power and money. Not surprisingly, the novel appears on Jim’s bookshelf and is part of the Good Omens book club — a list of personal recommendations from Neil Gaiman and Douglas Mackinnon for the fans to catch up on before the next series.

Last but not least, the possible connection to Libertas as the inspiration for the Statue of Liberty, shown multiple times in S2 as a foreshadowing of our character’s trip to America in S3. The related quote of Patrick Henry “Give me liberty or give me death” becomes even more relevant if we consider how the motto of the French Revolution was sometimes written as Liberté, égalité, fraternité ou la mort (“Liberty, equality, fraternity or death”). A lesson surely learnt by a certain angel back in 1793, when he was held prisoner for the last time before being forcefully taken Upstairs in the Final Fifteen.

The bridge and the castle

Okay, these are the basic observations. Now a brief historical overview and we will reach the fun bit in a jiffy.

Have you ever wondered about the meaning of this whole complex? It wasn’t always angelic, but named after a Roman noble dynasty. The Aelian bridge was built by the Emperor Hadrian in 134 AD to span River Tiber from the city center to his mausoleum. With time, the remains of more emperors were put to rest in there, until it was plundered and destroyed in a war. Then the remaining structure was transformed into a military fortress and a castle serving as the papal residence in times of war.

The Papal State also used Sant'Angelo as a prison; the Renaissance philosopher Giordano Bruno was imprisoned there for six years. Executions of the inmates were performed in the small inner courtyard, but they weren’t the only deaths in the area. On the other side of the bridge, in the adjoining Piazza del Ponte, under the watchful eyes of the stone likenesses of two saints, the public executions were held, and the heads of the criminals were brought onto the bridge and exposed to public view there.

As a prison, the former mausoleum is also the setting for the third act of Giacomo Puccini's 1900 opera Tosca. Long story short, the eponymous heroine convinces her lover to feign death so that they can flee together. Unfortunately, they are betrayed and the firing squad shoots at him with real bullets instead of blanks. Tosca believes in the quality of his acting performance rather than the truth, and when the realization hits her, she leaps to her death from the Castel’s ramparts.

After Nero’s bridge was destroyed, the travelers were forced to cross this bridge as the only direct route to the Vatican and St Peter’s Basilica, earning it the nickname “the bridge of Saint Peter”. That’s why in the 16th century Pope Clement VII erected statues of Saints Peter and Paul at the ends of the bridge, guarding it as they are supposed to protect the entry to Heaven.

In 1688 the bridge was embellished with ten angel statues, five on each side of the bridge, carrying Arma Christi, the Instruments of the Passion. The Good Omens characters represented by those statues in the opening sequence might be other instruments of Christ’s suffering as parts of the system that needs to be overthrown or replaced.

One angel appears particularly important in the context of both the bridge and the Second Coming — Saint Michael the Archangel.

Legend holds that the Archangel Michael appeared atop Hadrian’s mausoleum, sheathing their sword as a sign of the end of the plague of 590, thus lending the castle its present name. A less charitable yet more apt elaboration of the legend, given the militant disposition of this particular Archangel, was heard by the 15th-century traveler who saw an angel statue on the castle roof. He recounts that during a prolonged season of the plague, Pope Gregory I heard that the populace, even Christians, had begun revering a pagan idol at the church of Santa Agata in Suburra. A vision urged the Pope to lead a procession to the church. Upon arriving, the idol miraculously fell apart with a clap of thunder. Returning to St Peter's by the Aelian Bridge, the Pope had another vision of an angel atop the castle, wiping the blood from his sword on his mantle, and then sheathing it. While the Pope interpreted this as a sign that God was appeased, this did not prevent Gregory from destroying more sites of pagan worship in Rome. In honor of the vision and Michael, the bridge was renamed in their name.

What if the procession from the opening sequence was meant to imitate the procession led by the Pope from the legend? What if Aziraphale, now officially a Supreme Archangel, Commander of the Heavenly Host, is the one actually leading it, with Crowley finally at his side as his partner and second in command, just like it was proposed by him in the Final Fifteen?*

What if by some reason, maybe personal ambition, maybe just a tragic coincidence or situational necessity, there really was an impostor in Heaven, and Metatron — the so called Voice of God who seemingly doesn’t speak up for Herself since Job’s test — has been playing a winged version of the Wizard of Oz all along?

It would make just the perfect sense if not for one tiny detail. The procession we see on the bridge is actually led by Crowley, which doesn’t fit the parallel at all — unless it’s actually a proof of an ongoing body swap, as the mismatched names of the actors could also suggest?

The mountain of trash and the bookshop

The symbolic mountain of trash we can see Aziraphale and Crowley climb is a reference in itself. To an actual mount called Zion, believed to be the place where Yahweh, the God of Israel, dwells (Isaiah 8:18; Psalm 74:2), the place where God is king (Isaiah 24:23) and where God has installed king David on his throne (Psalm 2:6).

In a literal sense, it’s a hill in Jerusalem, although the sources refer to three different locations in different contexts — although for the purpose of this meta the Upper Eastern Hill (Temple Mount) makes the most sense. Its highest part became the site of Solomon's Temple. The same King Solomon the rituals in Freemasonry refer to. Masonic buildings, where lodges and their members meet, are sometimes called "temples" specifically as an allegoric reference to King Solomon's Temple, not actual places of worship. And Aziraphale’s bookshop is built around Solomon’s Magic Circle.

In a metaphysical sense, and especially in the context of the Christian New Testament, it is also believed to be a part of Heaven — the heavenly Jerusalem, God's Holy, eternal city. Christians are said to have “(…) come to Mount Zion and to the city of the living God, the heavenly Jerusalem, to an innumerable company of angels, to the general assembly and church of the firstborn who are registered in heaven” (Hebrews 12:22-23 cf. Revelation 14:1). Just like the procession were following in the opening sequence.

There’s been some speculation whether the lift on top of the mountain could symbolize Aziraphale’s bookshop, or, more specifically, the oculus in its centre. If you look closely at the enhanced screenshot, you can see that the dome isn’t made of glass and that it looks like a tower (a church’s bell tower, perhaps) more than a whole building.

And there is an actual doorway in there — not like the modern lift doors — opening up towards the source of that white, heavenly light. And what kind of enlightenment can you usually find up in the skies or heavens?

We’re welcomed to crack open the doors to the Heavenly Sanctuary — the Most Holy place, Sanctum Sanctorum, the Holy of Holies — to undraw the final curtain and finally stand eye to eye with God. Who knows, maybe even ask some questions or listen to some answers.

Or, at the very least, to meet one of Her forms known as Jesus Christ. Because that’s precisely where he serves as our (humanity’s) Mediator and the Holy Priest after his Ascension to Heaven. The structure at the top reminds of some temple architecture seen in Antiquity and Christianity.

The Catholic Church considers the Church tabernacle or its location (traditionally at the rear of the sanctuary) as the symbolic equivalent of the Holy of Holies, due to the storage of consecrated hosts in that vessel and their meaning as the Body of Christ. Tabernacle is commonly marked with a red light turned on and off depending on His presence or lack if it.

Looks like He’s already in the area, one way or another, keeping eye on some things.

Are we following a procession of believers happy to embrace their one and true Savior? Or are they actually protesters on their way to dethrone the authority and the system?

Guess we will have to wait and see.

#the good omens crew is unhinged #everything has a meaning #title sequence #angels everywhere #archangel fucking gabriel #gabriel’s statue #bookshop statues #statues update #ponte sant’angelo #let there be light #good omens analysis #good omens meta #bible fanfiction #yuri is doing her thing

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cassieno · 6 months

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what gets me is crowley didn’t know about the polaroid. he thought it would be his last night on earth. but it wasn’t, thanks to aziraphale. and the next day, after their candlelight dinner, he went back to the church and bought this statue from the people cleaning the rubble. he thought it would be his last night on earth but it turned out to be the very beginning of a new chapter for them. and he took a souvenir. just like he took agnes nutter’s book from the burning bookshop when he thought that their lives had changed again. makes me think what souvenir he might have taken at the end of season 2, seeing how it’s maybe the biggest turning point for him yet.

#good omens #crowley #aziraphale #aziracrow #ineffeble husbands

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actual-changeling · 8 months

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i'm going insane over the few years in-between seasons we did not get to see, especially crowley and his glasses.

they have a PLACE. he puts them there as soon as he enters, he feels so comfortable in the bookshop by now he doesn't even need to get drunk first or wait a while. just. immediately takes them off. bares his soul to aziraphale. let's him see.

how did we get here??? how many hours did he spend with aziraphale, just growing more and more relaxed around him, trusting him. trusting that he won't abuse his vulnerability, hell, at that point aziraphale probably cherishes it. yellow IS his favorite colour, after all. crowley's yellow, to be precise.

and the statue he places them on - was that aziraphale asking him to put them somewhere safe after crowley accidentally sat on them or dropped them? maybe it started out as a careless 'i'm just throwing them there i dont give a fuck' and then just. happened again. and again. until suddenly it was *his* spot.

aziraphale has gotten so used to seeing his eyes it will kill him when crowley stops taking his glasses off around him, seeing only his own reflection instead mutual affection.

do you think he will forget the exact colour of his eyes in heaven? do you think he will try to remember the shade and be unsure if it's correct, trying to find the right memories but never being confident that this one is right?

six thousand years and suddenly all he wants is to be able to look into crowley's eyes again.

#alex talks good omens #good omens #ineffable husbands #crowley #aziraphale #crowley x aziraphale #good omens season 2 #it's 1:30 am and my sleep meds are kicking in excuse this senseless ramble

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neil-gaiman · 6 months

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Hello Mr. Gaiman, hope this ask finds you in good health, I really need your help.

I’m a law student and currently taking a course on Law and Literature, brilliant by the way. We were given the freedom to chose a theme of our preference on the way law is represented through literature, and I thought Good Omens was the perfect subject for me.

I was interested in focusing on a faulty, inflexible system, especially one heavily influenced (in this case entirely made up) by ‘canon law’ and the way it influences social spheres. The incoherent dichotomy of moral good and bad, the way they influence ethical right and wrong translated into law.

What I was interested in is whether the legal system of Good Omens is based on positive legislation, or more on a customary, spiritual one. The reason why the question arose is the specific scene of ‘The Clue’, where Aziraphale openly ‘acts against the will of God’, and is convinced he will be brought to hell by Crowley. This is interesting to me, because in response he just says that he wouldn’t tell on him, and that was that.

Does that scene mean that angel status is not based on a spiritual(literal sense) monitoring of the soul, but rather about obeying statute and the way it is institutionally evaluated? Is there a set legislation, would it be God’s will? For that reason, would it be ineffable?

I feel like the fact that God is supposed to be omniscient would kind of undermine that theory, but nonetheless I wonder. I suppose that what I’m pleadingly asking for is some insight on the legal frame you maybe pictured for the Up and the Down (do they follow the same general legislation? Is it about legal pluralism? Are they monitored? Is it about lack of sufficient number of managers or oversaturated personnel?).

Pretty please,

A very desperate uni student

P.S. I’m very sorry about the length, I’m not good at summarizing things that I really enjoy. Also sorry for possible writing errors, English is not my first language. (If you see this more than once, sorry. As we’ve already established, I’m a little desperate)

I love these questions. Honestly, I don't think the Good Omens Heaven/Hell system is codified enough for me answer, other than to say both sides are very big on rules and have codes and agreements (see Crowley bluffing in the bookshop) and whatever you put in your essay I promise I will never turn up and maintain that you were wrong.

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halemerry · 9 months

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I’m doing it. I’m breaking down the Scene. You know the one. I've been tearing it apart for a week straight now in discord and figured I should leave my observations here. So, uh, yeah, this one's a big one so buckle up folks!

I want to start with the build up because I can never leave well enough alone and because I think the framing we have coming into this sequence is important. We start with the camera on Mr. Acts of Service himself. Crowley, after banishing Muriel, starts cleaning up the bookshop. The music playing is the soft slow rendition of the opening theme. He is returning this space to the status quo, resetting back to normal, fully intending to do this for Aziraphale before dragging him out to the Ritz, falling back on their typical pattern of going out together for food and drink.

Now in a moment he's going to get interrupted by Nina and Maggie but before we get there I want to take a second to draw attention to the area of the bookshop that Crowley will be operating in for the bulk of this. This space is one we very frequently see Aziraphale in. It's his desk behind the till - a spot linked intrinsically to him, even down to the fact that it's located on the east side of the shop. The windows are throwing beams of light onto Aziraphale's chair and onto the same spot Crowley will stand during The Scene. This lighting choice will not change from now until our last shots in the bookshop and the way the blocking plays around these sunbeams is very aware (as Good Omens nearly always is) of exactly where they will land.

Nina and Maggie enter the scene to have a chat about boundaries and communication. Maggie, his own mirror, tells him flat out that he can't play with their lives like that. Maggie and Nina then both tell him that he and Aziraphale need to talk. And I don’t think they're wrong, exactly, but I do think that Aziraphale and Crowley are actually a lot better at communicating in general than they are in these following high stakes scenes. But that's some meta for later - for now I want to just focus on the particular way Crowley's been primed for the conversation he and Az are about to have. Nina in particular does something really interesting. She does exactly what we as the audience did when we first saw Nina and Maggie: she mistakenly projects herself onto Crowley. She says he has trust issues because she does and in the process accidentally frames the core of their problem as Crowley needing to allow himself to trust Aziraphale, a thing that he actively already does and has done for quite some time and has been shown to us several times throughout the two seasons.

Now the build up we get for Aziraphale going into this conversation is very small. By which I mean practically non-existent. We start at the end of his conversation with the Metatron who tells him to go tell his friend the good news - which notably does not imply that the news is something that would require Crowley to make a choice - and sends Aziraphale on his way. Now the most crucial thing in this sequence, to me, is the expressions Aziraphale makes when he thinks the Metatron isn't looking at him. While polite and smiley when engaged with him, Az's expression falls as soon as he doesn't have eyes on him. Something is wrong and Aziraphale knows it.

Aziraphale enters the shop. The doorway is dark and shadowy and he hasn't composed himself yet - though he does give Nina and Maggie a little smile as they leave. Then, as soon as they're not looking at him, but before he approaches Crowley, the tension is back.

He hesitates, then smiles and approaches Crowley. Crowley, planted dead center in that beam of light from earlier, takes off his glasses and promptly starts nervously rambling. The music cuts off here entirely, giving us nothing to focus on but the noises coming from our lead actors, the background noise from the street, and the ticking of the clock in the background. Aziraphale puts up his hands like he's going to interrupt then lowers them again as Crowley keeps talking, his face shifting into this helpless sort of smitten look.

Now look at the light and how it hits the bookshelves behind Crowley as he tries to get his confession going. It's in the shape of a wing. Keep an eye on that - when the camera chooses to show us this one wing of light is important.

Aziraphale then interrupts and there are two things I want to draw attention to here as Aziraphale fumbles for words. First of all is the fact that he glances in the direction of the door (and the Metatron) at least three times as he's struggling to speak.

Secondly, I want to draw attention to the words Az actually says here. He first echoes the Metatron's earlier statement about good news. He then does not roll into the news itself and instead glances at the door and says the Metatron. He starts rambling about the Metatron to a very confused looking Crowley and evetually talks his way into that the Metatron said something. He then hits a wall again, scrambling to find words and instead of explaining the context of what the Metatron says he lands on Gabriel. His brain latches onto someone obviously on the forefront of both their minds and something vaguely relevant to the news he's about to share. He rambles more about Gabriel's job, glancing once again at the door in the middle of this, still avoiding getting to the actual point or perhaps even synthesizing said point as he goes.

We then cut to what is framed as a flashback. I think it is very notable we only see this as Az is telling it to us. In other words that this is not us witnessing an event happening but us witnessing what Aziraphale is telling Crowley. This sequence is the single scene where the Metatron calls Crowley by name despite actively avoiding it in any real time continuity sequences. He uses it twice here which I think also is the strongest thread in here that tells us that we are seeing what Crowley is being told not necessarily what actually happened.

The instant the idea of restoring Crowley comes up the wing of light behind Crowley loses visibility. Crowley's speechless for a moment so Aziraphale fills the silence, already looking like he wants to cry as he talks about the old days. (I also can't help but to notice that the lights behind Az in this shot look like eyes.) Crowley finally speaks and circles around the beam of light he's been standing in like an object seeking to re-establish a source of gravity. The music cuts back in here with tense drawn out notes.

Crowley talks about how Hell offered him his place back and he turned them down. Aziraphale in turn presses on ideas that we know he doesn't really believe. It's a echo of the bandstand and uses a lot of the same language of that fight - another fight we know features Aziraphale saying things he knows aren't true. By now, we have seen him multiple times this season express he does not want to go back and make it abundantly clear that the side they have made for themselves is important to him. We see him actively calling angels bad and incompetent, contrary to everything he's telling Crowley here. We see him be the one to repetitively remind Crowley that they are on their side and be the one that always draws attention to that first. Yet here he says Heaven is the side of light to Crowley - who by the way is literally framed in light. The frame is telling us outright that Crowley is already Good as he is, while Az's expressions are telling us he knows Heaven isn't.

Aziraphale can't tell him that he did not turn down the job and Crowley does another orbit. The music cuts again. This time, he stops with his back to Az, tilts his head upward and decides to ruin me by invoking God.

Here he is, hearing these awful things that he was sure they had moved on from, hearing these things he has tried for so long and so hard to help them both unlearn. But these sorts of habits and lessons are insidious and he knows that and he himself is even a victim of that himself. I mean, don't get me wrong, he recognizes this is weird, I think, but between his own self worth issues and the stress of the few days they'd had can't work out what exactly is off here. He's confused and lost and just been told, in his mind, that he is not good enough as he is - a thing he has always on some level also believed. Yet he reaches out to the parent that taught him that lesson in the first place for strength and grounds himself with that. He circles back to stand in the beam of light and, with that wing of light finally backlighting him again, he is brave and tries to be enough anyway. He bows his head downward, fully emerging the line of this body in the light and tries again. Because even now, even after that emotional blow, Crowley is an optimist who can't help but to try.

At first Aziraphale can't figure out quite what is going on here. He squints at Crowley and glances at the door again. Crowley meanwhile keeps continually glancing upward, whether at God or to hold back tears or some combination of both. In most of these shots Crowley bisects the room, creating a dark half to his left and a light half to his right.

Crowley says he relies on Aziraphale. Even here, even now when he's just hurt him. Because it is the truth. Because Aziraphale makes him feel less alone. Because Aziraphale proves to him that no matter how fucked the system is that there is still good in the world, even if he doesn't always agree with it.

It is only once there is no doubt what Crowley is doing that Aziraphale starts shaking his head in very small quick shakes. He looks panicked even as they both physically draw closer to each other. It's huge not here, not like this energy to me. Aziraphale asks Crowley to come with to help him run Heaven. This is the point where Crowley starts tearing up.

Crowley then says you can't leave this bookshop, trying to say you can't leave me. Az, nearly in tears himself, says 'oh Crowley. Nothing lasts forever' as a means to convey that the books aren't what is important here. Crowley, naturally, hears 'including us.'

Crowley looks down again, quietly agrees, and puts on his glasses, covering himself up again. He then wishes Aziraphale good luck and the music starts up again, still tense but sorrowful now. He leaves the light and heads to the door. Az can't help but to call after him. Please wait. And Crowley can't help but to listen. It's worth noting here that even as he rotates toward the north door, the light still gently hits his face. The shots in general are darker though. He's moved away from the light but it still can't help but to touch him.

"Come with me," says Aziraphale and then after a pause adds "To Heaven." Aziraphale, looking heartbroken, starts one of two 'I' statements he will struggle around in the next few moments. He lands on I need. Which. I want to pause there a moment because holy shit. That is not something they say out loud either. Az looks at him a moment, visibly struggling before he says his dialogue about Crowley not understanding his offer. Like he's said something he didn't mean to and needs to cover it up or like he can't handle the silence after such an honest statement. And on some level he's not wrong there. Because Crowley doesn't understand what Aziraphale is trying to say. But Aziraphale doesn't understand the way Crowley is reading it to course correct either.

Crowley says that he does understand and that he understands better than Aziraphale does. And he also isn't wrong either, from his perspective. Because he does understand the implications behind the offer theoretically in play here. Because he does know that the position Aziraphale is presenting him is not going to result in the outcome Aziraphale is presenting him with. There are some things you can't undo just like memories slipping through the cracks.

Az says there's nothing more to say, trying to dismiss Crowley despite having been the one to pull him to a stop moments ago. He puts on a fake polite smile for a beat but then his is jaw sets, mouth working as his eyes drop - unable to look Crowley in the eye.

Crowley tells him to listen as the music fades out and points upward. Aziraphale humors this, glancing up a few times before looking frustrated, saying he can't hear anything. The light from the window shines down in his direction without actually touching him. Crowley tells him "That's the point. No nightingales." The shot he's on here is a dark one without even any of the book shops pillars visible in it to brighten the shot.

Aziraphale looks frozen a moment here and then as Crowley calls him an idiot and says 'we could have been us' his face completely crumbles. He rapidly glances away to hide his face and Crowley moves and reaches to pull him back. They're both distraught. Az is clearly already holding back tears even before Crowley touches him. The angle of this shot frames Aziraphale in the light of the window. For the first time in this whole sequence Aziraphale is in the light, literally being physically pulled into it by Crowley.

The music swells, playing a similar theme to the one that plays as the Pillars of Creation are formed at the start of the season. They shift back and forth, the camera focusing on Aziraphale's face and hands. His hands move uncertainly, trying to reach out even as he's struggling emotionally. He is visibly shaking but he crucially does not pull away, not even a little.

His hands settle on Crowley's back, right where his wings would be, and for a brief moment gets taller, like he's allowing himself to lean into the kiss. They press together tightly, their mutual gravity sending them crashing together before they break apart. When they do Aziraphale looks devastated and his eyes move pretty much instantly to look out the window where the Metatron would be.

Crowley's glasses make him harder to read here, but he looks at Aziraphale like a man awaiting judgement in a trial he knows he's already lost. He's sad too, but as always, is waiting for Aziraphale's reaction. Because he might push continually at he boundaries of them as a unit but he has always let Aziraphale decide where to set them in stone.

Az fumbles over words here. He gets stuck on "I" here and lets it hang in the air. He then visibly thinks his words over, his expression slowly filling with resolve as he comes to some sort of conclusion. Then, like it's difficult to say, he falls back into old coded language. "I forgive you." A thing he has always said in response to things that he agrees with but cannot or should not allow himself to have.

Crowley sighs and tells him not to bother, refusing to fall into the old pattern that Aziraphale has. He is setting a boundary, for once, and even if it is one born from misunderstanding I am proud of him for being able to. He turns away and leaves. And this is where Az seems most in danger of falling apart. His lips move as Crowley goes, forming the start of a 'no' after him. He draws back from the door and turns his body away from it, physically distancing himself from anything that would feel like following Crowley. Except he can't help himself. With shaking hands he reaches up to touch his lips. He presses in, like he's trying to recreate the pressure and then his jaw works a moment and his expression sets as resolved.

The Metatron enters through the front door, which is framed in dark lighting. Aziraphale looks panicked and immediately turns his whole body away from him to hide his face while he collects himself.

He turns around after a beat and the Metatron asks 'how did he take it?' This is an odd question that only sort of half fits the fact that we are meant to believe at this point - that Aziraphale should be obtaining a yes or no from Crowley. It's not asking Crowley's choice at all. It's like the Metatron assumed a different conversation had happened or perhaps that he already knew the answer.

Aziraphale says he took it badly and the Metatron just takes a moment to direct a few casual digs at Crowley. He references him being stubborn and too curious - all the while avoiding the use of this name. At this point Az's eyes are locked out the window in the direction Crowley vanished to. The Metatron asks if he's ready to start despite originally having promised Az time to think over his answer. Aziraphale keeps glancing out the window.

For a moment he cracks, stepping away from the Metatron and back toward the east side of the bookshop. For the only time in this whole sequence he steps right into the sunbeam Crowley started in. It notably never illuminates his face as he mentions the issue of his bookshop (a statement absolutely not about the bookshop).

The Metatron explains Muriel will take care of it. Aziraphale looks back out the window with the start of an objection.

The Metatron interrupts him asking if there's anything he needs to take with him. Az's mouth takes a moment to try and form words. He steps out of the light again, starts to object, and then cuts off, eyes back to the window. Then his expression shifts again, settling in another state of resolve before he puts on his falsely polite face and follows the Metatron out.

As they leave the shop we cut back to Crowley. Crowley, who could've left to go handle his own emotions, did not leave. Instead he planted himself there, nice and noticeable. Like he wanted Aziraphale to see and know that he still has a choice. Like he needs to see Aziraphale make that choice for himself. Like he can't quite bring himself to be the one to close that last door. He stands there, framed by light, and doesn't move until the doors to the elevator to Heaven close behind Aziraphale. He then glances at Nina and Maggie and then gets in the Bentley, which starts playing the song that we now know he knows is supposed to be theirs. He turns off the music and drives away.

So there's a lot in these sequences and most of it probably won't help us figure out exactly what comes next, but there are definite signs that all is not as it's being presented to us. Whether he's actively lying or not, something is wrong that Aziraphale either can't or won't talk about frankly with Crowley. I suspect, whether it's under stress from a literal threat or because he believes that it is the safest option for them, that Aziraphale is doing all of this to protect Crowley.

There are also all sorts of signals here, especially in the lights, that gesture at the fact their togetherness is a net good. Together they are balanced and stronger for it and likely more in alignment with the Ineffable Plan. And, more importantly than that, that said togetherness is so clearly what they both want. They have loved each other longer than anything alive has ever loved anyone and none of this changes that. They both are saying that in their own ways here, even if those ways are not ones the other is particularly good at picking up and I for one cannot wait to get to see the payoff of them learning how to.

#good omens #gos2 spoilers #good omens spoilers #good omens meta #kind of #is it meta if its mostly me pointing and yelling?#come suffer with me #you have no idea how many times i had to watch these sequences for this #crowley #aziraphale #the bookshop

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