Fife? What’s going on?
Forgive me if anyone has pointed this out before an I have missed this discourse previously, but....What is up with Fife?
Here’s my hypothesis (and isn’t this half the fun of participating in fandom anyway?):
I saw a tiktok (I did not save it), that showed Penelope running down the hill toward Eloise at Aubrey Hall. The day she shows up in a Green Dress (TM). In the background, several characters are walking along, but who is in the corner of the left side? Fife! And he’s watching Penelope. Hmmm.
So then, I looked him up online, and there isn’t a lot about the character on his wiki page. So I went to the actor’s IMDB, and they had a clip show thingy, and Pen was in several clips that he was featured in. Like, most of the clips.
He was watching her in season 1 when Colin danced with her. He was REALLY AND INTENTLY watching her when Colin dance with her in season 2. Like, the dude stared at them the whole time.
And then I went and watched the “Are you courting the girl?” scene (Heartbreak, I know), and the way Fife asked doesn’t exactly sound like the way he’s talked about women the other times. His voice is inflected differently in the other scenes. Like when he was thanking Anthony for deciding to marry, and when he was rude during the promenade, and..well all the times Fife bothers to open his mouth. But, when he asks Colin if he’s courting the girl, it sounds like an earnest question. Like he’s feeling out if it’s okay to have a thing for Penelope Featherington. Like, maybe, if Colin had said yes, then it would have made it socially okay for Fife to maybe court her too (Or go after her some sort of way).
So my sis is going to go back and watch all of season one and two again and watch the background any time Pen is there and we are going to try and snap every time Fife is watching Penelope. I think it’s a lot more than we realize.
SOOOO, this brings us to possible Season 3 conflict. What if Fife decides to say “To Heck with It” and tries to court Penelope. Or at least give her more noticeable attention than he’s giving her right now?
First off, we won’t have to worry about a love triangle because Penelope is smart enough to decline his advances. She’d rather be single than mess with that guy. But Fife is Fife and he’ll probably become more dogged if he really does have a thing for her. He gave up quick on Edwina, but it was his friend who seemed more into Edwina and Fife was just there being performative. And maybe Fife’s attention sets Colin to spiraling. Not really jealousy (though I for one like a little jealously (Anthony staring at Kate in the boat anyone?), but maybe it wakes him up his current feelings for Penelope. She’s definitely avoiding Colin by this point. She’s never at the Bridgertons’ house because of her rift with Eloise, she’s dressing in greens and blues and soft pinks and he’s forced to realize something is going on in his heart because FIFE is openly displaying an affection toward Penelope that SIGNIFICANTLY PALES in comparison to anything going on inside of Colin, yet here is Fife trying to court her? So Colin will need to do some soul searching, because why isn’t he himself courting her when Fife certainly isn’t able to see all that Penelope really is and all that she is is screaming inside Colin’s heart and mind.
In Conclusion: Fife has a secret thing for Penelope (that may not be wholesome at all because it’s Fife) but it’s going to get more noticeable in season three and that will set off the chain of events that makes Colin recognize what he’s already feeling for Penelope.
Cue Penelope Fan Boy Number 1.
I would love to hear your thoughts.
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✨ my official good omens s3 prediction post ✨
which accidentally I guess comes with a side-order of analysis and a soupçon of meta because I can’t shut up
The quote "The plans for Armageddon are going wrong. Only Crowley and Aziraphale working together can hope to put it right. And they aren’t talking." is intentionally misleading.
I think with Aziraphale gone, Crowley is going to become Grand Duke of Hell. He’s hurt, he’s tired, he’s got nothing to lose anymore. He’s also a bit of a dramatic petty bitch (affectionate), and after suffering what he considers the ultimate betrayal from Aziraphale, he wants to hit him where it would hurt equally by joining the “bad guys” fully. Crowley thinks of himself as unforgivable, and since (in his mind) Aziraphale refuses to “see” him for who he really is, he’s going to force him to by acting out like this (beside the fact that we know that this isn’t actually who Crowley is, but he’s injured and lashing out, even if it hurts himself, too.)
So, that quote. The plans for armageddon are going wrong. as in heaven can’t get it to start. And the only way they CAN get it to start is to get the Grand Duke of Hell and the Supreme Archangel to work together, which they are refusing to do. Think about all those meetings between Gabriel and Beelzebub — those definitely didn’t start off as dates, they were business meetings. And so Aziraphale and Crowley REFUSE to speak to each other (with MAXIMUM pettiness and passive aggressive comedy) because they’re both mad at each other for their mutual miscommunication, but also because they KNOW that if they do work together they’ll end up fucking it up somehow (and actually set the second coming back on track, which they obviously don’t want). The one thing that is a common thread through Good Omens is that Aziraphale and Crowley are actually kind of useless at their jobs, and they usually end up accomplishing the opposite of whatever it is they are supposed to do. Aziraphale is still in the grip of heaven, and can be manipulated — while Crowley is probably still terrified of Satan, and now that he’s kind of recklessly agreed to such a big promotion, that’s now his immediate superior.
(So really, if you’re useless at your job, and consistently do everything wrong, and you’re trying to stop a massive project — the best place to be would probably be in charge of that project, no?)
So anyways, cue Muriel being used for the most immature go-betweens (“Muriel, dear, please tell the Grand Duke that I won’t be able to make our dinner reservation this evening because he is a lying snake.” “Muriel, tell the Supreme Arseangel that I never made the reservation anyways and his holiestness was presumptuous to assume so.” etc etc)
I’m also betting that the Metatron orchestrated his offer to Aziraphale very intentionally, because he knows that they’re each other’s most precious thing, and he knew that raising Crowley would be the best possible offer to get Aziraphale to agree, but also, he knew that Crowley himself would never agree to it. Which left Aziraphale in a tricky position. He’s still too afraid of heaven to back out, and by separating him from Crowley, the Metatron thinks he has succeeded in both eliminating the biggest threat to the second coming (the earth’s only professional apocalypse-thwarters with extremely powerful joint miracles) and planted (what he believes to be) a huge pushover of an angel in the seat of power — essentially a puppet for the Metatron’s commands.
(I’m not even going to get into the alleged threat of the book of life at this point, but that’s it own big bag of worms)
Problem is, the Metatron severely underestimated how much these two are idiots, how far they’re willing to go for love (or how far they’ll go when they believe their love has been scorned), and again, I cannot stress this enough — how much they’re both idiots.
Crowley accepting the position of Grand Duke seems out of character, until you realize it absolutely is not. (The same thing goes for Aziraphale accepting the position of Supreme Archangel, btw.) With everything else happening, it’s going to be effectively Crowley’s only option — Aziraphale is gone, the second coming is coming, and there’s a convenient little vacancy at the top of Hell’s hierarchy. He’ll take it because he’s upset and hurt by Aziraphale, but he’ll also take it because he’s angry, and it’s the only way he can possibly have any impact on what happens next.
I’d go so far as to say that Crowley loves Earth primarily because he loves Aziraphale, and Aziraphale loves Earth. Crowley is always the one to suggest running away when the going gets tough, because his top priority is always Aziraphale’s safety. If the Earth ends up a casualty, well, boohoo, at least he’s got his Angel with him. Now, though, he’s got no Aziraphale — so what’s the point in sticking to Earth? Remember how he pretty much immediately gave up on stopping the apocalypse when he thought Aziraphale was dead? Yeah. (In fact, he probably realizes very quickly that if he wants any hope of having Aziraphale back and sharing their lives together — this time for real — he has to take drastic measures to make sure Earth and humanity survives. He’s an optimist, and he’s also selfish.)
So, surprise, Metatron! You just took these two will-they-won’t-they eternal virgins and made them business partners. Which is an issue.
Because remember, for one supreme archangel to fall in love with the grand duke of hell during dubious business meetings makes a good story. For it to happen twice makes it look like there is some kind of… institutional problem.
We’ve taken the “workplace” in “workplace comedy” and dialled it up to 12. Now it’s not two salarymen from rival companies just kinda begrudgingly doing what they’re told until they don’t, it’s two high-ranking executives from rival companies who’ve decided they’re in love with each other, they’re done with this shit, and they’re taking the whole industry down from the inside.
Never forget that Good Omens is, at its core, a comedy. I believe we will get the romantic south down ending, for sure, but the path to get there is going to be a farce. They’re not talking — perhaps only in the business sense — so who knows the hijinks and shenanigans and making out they’re going to make everyone around them put up with this season. Aziraphale orchestrated an entire Jane Austen ball for Crowley before they’d even touched mouths. They’re going to be insufferable and I’m praying for Muriel’s sanity.
Finally, the final element of my prediction: Jesus will be there, probably. Maybe even Adam, too! Maybe it’ll even be lost celestial baby pt. 2: electric boogaloo. (as you can see my priorities are mostly regarding what happens with Aziraphale and Crowley lmao)
(and also, you know that dinky little half miracle they pulled together for jimbo? They were a couple of nobodies then. Imagine a full-powered joint miracle between a Supreme Archangel and a Grand Duke?)
(…Imagine a full-powered joint miracle between two supreme archangels and two grand dukes? 👀 ok ok who knows but also I’m not convinced we’ve seen the last of beez and gabe)
ok bye ❤️
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LWA: Just some random stuff on a Sunday morning!
Missing scenes: Furfur's book of angels includes "bishop" as one of Aziraphale's jobs, and as we've already seen all the others on the list, even if only in deleted lines (the music tutor was originally in the Rome scene), I would guess we'd see that one as well. Not necessarily a good fit for 1650, though, although since Gaiman has done things like have the Bastille still standing in 1793, anything's possible.
Assumptions about character progression: I think there's a tendency to assume that Crowley and Aziraphale develop or ought to develop towards something "better" as the series progresses, but that's not quite right. They become more /complicated/, which is a neutral--dare I say grey?--concept. The novel and series both deny that good and evil are steady-state aspects of character: you /aren't/ good or evil (or something in-between), you /do/ good or evil (or something in-between). S1 Crowley, as both Gaiman and Tennant have said, has no real character arc, but one of the reasons I think the fandom needs to pay attention to my favorite bugbear, the child murder manipulation subplot, is that it is also about moral complexity. Flood-era Crowley offers the moral absolute "you can't kill kids." Armageddon-era Crowley runs Aziraphale over with a trolley problem in order to duck the more unpleasant reality that if you're fine with someone killing a kid for you, you're fine with killing kids. (I have to say that the sentimental "Crowley wuvs Warlock" headcanon is one of those instances where supposedly-positive fanon constitutes outright character assassination, right up there with "Aziraphale had an affair with Oscar Wilde" [oh, do /not/ get me started on why that's horrifying].) The series is on the side of Flood-era Crowley and Madame Tracy, not the "developed" Crowley. Meanwhile, Aziraphale learns how to lie, which is a skill that can be put to different moral purposes in different contexts. Sometimes it's unambiguously good, like saving Job's children; sometimes it's ambiguous-to-evil, like concealing the Antichrist's whereabouts from Crowley (revealing this knowledge to Crowley would mean more pressure to murder the child, but his rehearsed speech suggests that he's willing to let Heaven handle it, perhaps, which is not a viable moral alternative).
AWCW and being "impressionable": one of the funniest things about Crowley is that in some respects, he's every bit as conformist as Aziraphale is, and sometimes more so. His unreliable narration about the Fall hints very strongly that, as you say, he just went along with the "cool kids"--which, despite his protestations to the contrary, /is/ a moral failure on the terms set out by the novel and series. Even later, both Crowley and Aziraphale rebel in ways that maintain the fiction of the overarching system (the Arrangement) rather than dismantling it entirely. Crowley also enjoys his job, especially in the novel. Which, to be clear, is also a moral failure: slacking off is, hilariously, the most moral choice he and Aziraphale can make. FWIW, for me, neither the novel nor the series are "burn it all down" narratives, in part because they both advance a theory of humanity that suggests burning it all down just gets you the same thing from a different direction. The most radical political ideas are given to a conspiracy theorist and to children, and the Antichrist concludes by rejecting all of them and hitting a literal reset button. Pratchett may have co-written the book from a place of "anger," but anger can lead to a lot of different political practices. Obviously, YMMV.
LWA✨ woke up today and chose analytical violence, what a legend
1. see, i feel like 1650 could work for aziraphale's bishop occupation, even if only mentioned retrospectively. theoretically, he could well have been a bishop before the abolishment in 1646, and exploring the episcopalian polity vs presbyterianism argument of the time could be really interesting narratively (especially if handled somewhat like the resurrectionist episode)... but detail aside, even if by the time we see him in 1650 it's only mentioned casually that he was a bishop "a few years back", i don't think it would be entirely out of field. we don't necessarily need to have everything played out on screen!
2. okay, a lot to unpack here, but essentially i agree. the issue it seems to me is to posit moral absolutes in the first place; there will almost always be a contextual 'except'/'but' clause that comes along with it that turns it on its head.
it's bad to kill children, except when they are the antichrist and could bring about the apocalypse.
it's bad to lie, except when it would prevent unimaginable cruelty and grief being wrought on those that don't objectively deserve it.
it's bad to manipulate and brainwash a group of people, except when there's no lasting harm done, and you were only trying to demonstrate to someone that you love them.
it's good to try to further human medicine and prevent needless suffering, except when doing so puts the desperate as the first to fall in the figurative battlefield.
it's good to forgive a huge debt when you don't have any necessity of it being paid, except when it's primarily borne out of materialistic selfishness.
neither character does anything so completely reprehensible, or alternatively so inarguably irreproachable, that someone, somewhere, can't or won't argue a justification for their actions. we individually, according to our own moral compasses borne of our experiences, may justify or condemn what they've done in the narrative - objectively, the morality behind their actions as we've seen them so far is never absolute.
eg. for me, crowley's plan on killing the antichrist, a child, in the specific context of GO is not the condemnable action here; its the manipulation of getting aziraphale to do it because he, personally, will not do it himself. i understand why, but the thing that i personally consider to be unambiguously bad is not killing the antichrist itself, but instead the fact that crowley considers that the only solution to the hellhound being named - ignoring the 'running away' that crops up later, for a moment - is to underhandedly manipulate someone he cares about into doing it instead of him. however, others may see it differently.
who is to say what is 'better', anyway? what even is 'better'? is 'better' to do things only when it's for the benefit of other people? is doing 'better' for your own self not also worthy of consideration? is 'better' wholly only when doing something that is kind or generous to others, rather than being kind or generous to yourself?
whilst crowley hits certain moral epiphanal milestones before aziraphale does, neither have the full right of it - aziraphale should not hold morality to being plainly black or white, dictated to by a set of absolutes that are so basic and lacking in complexity that they are by all accounts redundant. and crowley should not dismiss alternative choices or solutions just because they do not fit his perspective or reasoning, nor hold that his understanding of morality is the only viable one or is the only one with any weight or validity. ep6 imo succinctly demonstrated this.
both of them are still so young at the flood. aziraphale holds that whatever has been decreed by the source 'of all that is good' must therefore be good (and choosing to not see beyond it) and crowley acts so incredulous that something he sees as being absolutely bad would ever be entertained (despite, you know, having been cast out of heaven for 'just asking questions'....). both of them by the time of job have had a pretty seismic shift in that respective naivety - aziraphale begins to question what god actually intends, and crowley acts stoutly bitter and unsurprised by the assignment. neither reactions are compatible still, they constantly circle each other, and literally indicate that some level of understanding (of god, of her will, of morality 'in the real world' itself - take your pick) is still lacking.
re: Oscar Wilde and warlock hcs (i couldn't let these stroll by without comment)... god, where to start. re: warlock, i never begrudge any hc where it's borne out of a developed fanon background. that's arguably one of the main benefits of having the fanon side of things: to develop a point/event/gap in the story for yours and others' amusement - that's cool! for this example, any fic that gives more insight into their years in warlock's life, and therefore gives legitimacy to crowley having a fondness for warlock - yep, i like that! that's awesome, i could see it as an unrealised narrative, but that's where it firmly stays, for me - in fanon.
but i do get frustrated when certain narrative points are pointedly ignored in order to establish a character trait that would otherwise not exist. crowley in canon does not - to me - demonstrate any fondness towards warlock. he literally proposes the option of his murder! i don't think him refusing to entertain killing warlock himself indicates any sentimentality towards the kid - thats a bit of a stretch, imo - but instead it reflects on his character being, put reductively, a bit of a knob sometimes.
as for aziraphale and oscar wilde... yeeaaah. i think anyone that holds that hc seriously needs to reevaluate the implications of it, and whether or not beyond professional (?) respect for his work aziraphale would willingly want to associate with him... ultimately, i refer back to my above point about "...anything so completely reprehensible...". and, respectfully, perhaps there needs to be a little more separation between michael sheen's filmography and aziraphale's narrative - whether in hc or canon.
3. right, AWCW time. i agree re: his conformity to the 'cool kid group' being something that is deserving of scrutiny on his own morality, but i feel like this only is viable once that association goes beyond a certain point (and an arguably arbitrary one at that). essentially, i think it's possible to still see AWCW's decision to associate with the group as understandable and empathetic. we know from the narrative that a) AWCW starts hanging out with them at some point, and b) that lucifer et al. are in the end considered bad people. but were they actually bad at the time that AWCW comes across them? if they were, did AWCW himself know? we don't really have enough narrative to reliably confirm this.
but we do know that AWCW fell, and it's therefore rather likely that he continued associating with them past a point where he would have known that they were Bad News Bears. in the beginning, he may have just been glad that these people seemed to listen to him and make him feel valid for having questions - that's understandable. but as time goes on, as lucifer etc. hypothetically get more and more questionable in their actions and beliefs, AWCW presumably choosing to stick with them, possibly even defending them, confers the deserving of negative judgement onto AWCW in turn (presuming there's no element of coercion or blackmail involved, mind you).
i like the point you raise of aziraphale and crowley respectively not conforming to their inherent purposes (being an angel or demon respectively) when it benefits them personally, being an almost accidental 'good thing', especially when the story puts forward that, however you look at it (ie. whether bc they are lazy, or it poses more excuses to see each other - immaterial), the arrangement is entirely self-serving. 10/10 narrative irony. but this is kinda going back to one of our first asks, LWA - it is for me once again the key difference between rebellion, and revolution:
(never been more grateful for making the LWA masterpost, thank you past-me)
so whilst i agree to a certain point that the 'burn it all down' narrative may not be a viable option, or is at the very least a reductive one, i think that the question is what it is replaced with, if at all. adam hit the reset button and put earth back to how it was, because what humanity and earth was - by my interpretation - was just fine as it is. it's not perfect, but not worthy of being destroyed in totality.
so what can we say about heaven? is it a mirror to earth in this respect? i don't think it is. heaven may well have been intended originally as a neutral party with the best of intentions, and then pigeonholed into being the 'good side' following the fall, but it has been allowed to fester and corrupt. maybe we will see more in s3 that there are other angels that feel that heaven as a system is flawed (personally, i think we see this in saraqael's introduction to GO, but that's just my interpretation of the character so far), and maybe those angels will represent the part of heaven that is still redeemable.
so okay, yeah, maybe heaven shouldn't be completely gutted and dismantled, but it is not in the same place as earth is at the time of adam's reset. earth and humanity were arguably the innocent parties in their prospective destruction, whereas heaven has sown their own seeds for it. i don't think the two are entirely comparable. heaven does need a major realignment, and i personally don't think this can happen without some form of systematic reform, without revolution (especially if the wider fandom's evaluation of metatron is true come s3!). it needs reworking with an alternative system that works to be fairer, and removes any binary rhetoric of good vs. evil. don't ask me for the minutae of how this should happen, because i have zero idea (well, very little, anyhow), im not that clever.
but this is what i hope aziraphale will actually be successful in come s3. he can't just - in anger at the injustice of it all - set heaven on fire and walk away from the ashes; it will invite for the original regime to rebuild or something worse to take its place. that being said, it's not just him that needs to do it - to build an alternative to heaven in his own image is equally questionable. again, this is the suggestion that i liked in the armageddon 2.0 meeting in ep6; the idea of democracy in heaven, even if the current board is less than ideal (and the point could poetically hark back to the hypothetical 1650 flashback...?).
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*shoots up in bed in the middle of the night* DEATH PATTERNS IN TUA!!!
So obviously everyone knows that each season has similarities to the others (apocalypse, taking place over ~a week) but I haven’t seen anyone bring this one up yet. Each season has had a True Death and a Fake Death.
The True Death happens to a major side character in the middle of the season (Eudora: 1.04, Elliott: 2.06, Harlan: 3.05), and the Fake Death happens to one of the siblings near the end of the season (Allison: 1.08, Ben: 2.09, Luther: 3.09).
The True Death is true. The character is dead and gone.
The Fake Death is fake- the character always comes back. I’m using that term pretty loosely, obviously, because, although I thought they killed Allison the first time I watched S1, she barely goes to the brink of death, Ben was already dead and just goes into the light, and Luther actually dies but comes back. However, they’re all connected in the way that we think that these characters Are Not Coming Back, but then they do.
I think this pattern could lead to some fun, but not really solid, predictions/theories. I think the True Death will be nearly impossible to guess, 2/3 times it’s a character we’ve met that season (although does that really count for S1 because we’re meeting all the characters that season?). The only real options we have for True Death theories at this point are Abigail, Ray, and Claire (and, I guess, technically Reginald, but he’s probably going to be the main villain again).
Frankly, I think the Fake Death will be hard to guess too. We can eliminate 3/7 siblings on the list, but there’s no reason they won’t give one a second Fake Death, and there’s not really anything tying the Fake Death characters’ stories from each season together (I’m sure if you go full conspiracy theorist you can find connections there, but I don’t think the similarities are intended).
Anyways, this was just a fun pattern I noticed and wanted to share.
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