Human!AU, Tattoos!AU, Fandom!AU, Social Media, Friends to Lovers, Mutual pining
Summary: Aziraphale, as far as he can remember, has always loved tattoos, even if he swore to himself from early on that he would never get any of his own. But, one day, he stumbles upon Crowley's Instagram account and his whole world is turned upside down. Two and a half months, that's all it took for Crowley to carve himself a place in Aziraphale's existence and become an important fixture in his life. Two and a half months, and they haven't even met yet.
Chapter summary: “You mean to say you’ve never read the books?” Aziraphale asked, flabbergasted, just to make sure he had read Crowley’s last message correctly.
“Yeah, not a big fan of reading, me.” Crowley replied, apparently unbothered by the bomb he had just dropped on him out of seemingly nowhere.
“Goodness! So you don’t know how it ends?”
“Not really, no,” was Crowley’s nonchalant answer.
Aziraphale bristled at that. He couldn’t fathom how anyone would choose not to read the books their favourite TV show was based on.
What is it about the air in Europe what makes Misha Collins act like that edition. Yes those are quotes of his.
[Image ID: The Destiel confession meme edited so that Cas asks 'I fucked you hard and raised you from perdition.' and Dean answers 'If the CW had not been so homophobic we would have been balls deep for sure'. /End ID]
Let’s put everything we know about that spooky statue of the Archangel Gabriel in one thread to make the conversation about its possible meaning as a Good Omens 3 clue more structured. Starting off with the relevant part of the official commentary from X-Ray:
Douglas Mackinnon got one thing wrong in his part of the interview — Gabriel wasn’t carved by “some guy in Italy,” but a British sculptor and prop maker David Field working as a part of the team at 3DEye in London.
Technically speaking, it’s a gorgeous piece of hand-carved expanded polystyrene with a clay sculpted head on top of it — even if the Archangel’s smug likeness isn’t that pleasant to look at, all things considered. The scenic artists from 3DEye made it look like stone afterwards.
The body itself took ten days to sculpt and is a faithful copy of the famous statue on Ponte Sant'Angelo in Rome called Angel with the Cross by Ercole Ferrata. It stands on the inscription “Cuius principatus super humerum eius” (“Whose government shall be upon His shoulder”, Isaiah 9:16), and this quote makes much more sense for Gabriel than the cross in his hands. The usual iconography of the Archangel uses a trumpet or a white lily instead.
Ponte Sant'Angelo was originally used to expose the heads of those sentenced to death — each of the angelic statues on it carry Arma Christi, the Instruments of the Passion. Like the Second Coming, what seems to be a hopeful message to the Chosen Ones can also be a warning for the others.
The statue of Gabriel, first shown in full in the cemetery scene of the Good Omens 2 title sequence, reappears at the very end as a part of the bridge leading to the biggest Easter egg — at least according to Peter Anderson, the animator behind it — which is the lift in the background, implying how we’re getting closer towards the Second Coming. Notice how the cross broke down in half at some point between these two scenes!
And it disappears in the plot as well: Gabriel’s memory depicts it only from his point of view, with the camera deliberately moving slightly to the right and stopping at his eye level. The centered, establishing shots show the statue with empty hands as a bookend.
I believe that this cross is meant to serve as a foreshadowing, a reminder of the absolution of sins and eternal life through Christ’s sacrifice and Second Coming. We see it only through Gabriel and Aziraphale’s eyes — when Beelzebub looks at the statue, the cross is not there.
As seen in the BTS photos and videos, it’s not an editing error, but a deliberate positioning of the physical props on set. The cross was clearly meant to be a removable part of the statue and displayed in a specific way to convey a message to the audience.
The question remains: is it a reassurance, something to look forward to, or maybe rather a warning?
Not helpfully at all, the traditional use of angelic imagery in Christian cemeteries matches both interpretations.