When Simm Says ‘I Don’t Know What I’d Be Without That Noise’ And Ten Says ‘I Wonder What I’d

Fourteen as Crowley: part 1 • (2)

Bring it back, bring it back, don't take it away from me

Because you don't know what it means to me💔

Oh, I remember how that phrase made me stop and do a double take. What?! Aziraphale never calls Crowley just to… talk? We thought they'd moved on in the time since S1, but instead they're stuck in some sort of suspended limbo. It was jarring, but I let it pass (although I shouldn't have, because it turned out to be so revealing).

I was discussing this with some friends and thought I would share with you guys.

Sure, that final episode was probably the saddest thing since the creation of the all-denim look back in the late 90's ( and I don't mean sad as it being bad but as it being sad sad). But I think it really paints a great journey for the next season for a lot of reasons but the one I'm gonna be talking is:

Aziraphale takes Crowley for granted.

Now, I don't mean this in a bad way. I think most of us have also taken the people we love the most for granted. I see that happen mostly with families: we argue a lot, we can be so cruel to them sometimes, but we feel more comfortable doing that to them than with other people because we believe they'll love us and be there no matter what.

Now, throughout both seasons we've seen innumerous moments from Aziraphale that show us precisely that.

Crowley has rescued Aziraphale too many times to count. Aziraphale himself has revealed that, in a way, he lets him rescue him because "it makes him so happy." This season Crowley has also said to Aziraphale during the whole demon attack, before he came out of the bookshop, something along the lines of "I'll come back, I'm not leaving you on your own." and when he takes Maggie and Nina out of the bookshop later he asks "Can you handle this?".

Then there's also their disagreements. I get the feeling that, because they've had so many throughout the ages and everything ends up alright in the end, Aziraphale knows Crowley will come back to him eventually after they argue.

At the scene in the coffee shop, Crowley tells Aziraphale that he calls either because he's bored, he did something clever he wants to share before he pops, or something's wrong (which in a way also shows that Crowley can't believe that Aziraphale does that simply because he matters so much to him, but I digress). Aziraphale knows that no matter the reason, Crowley is always gonna answer his calls, he's always gonna be there to listen to him.

On the other hand, Crowley has become increasingly dependent on Aziraphale. He is miserable when they are angry at each other, he's happier when he's with Aziraphale and he has come to a point where he can't say no to the angel. And this only fuels Aziraphale's behaviour and vice versa.

In the last episode we see Crowley saying no. Aziraphale seems to not really take it that seriously and keeps on talking about it and trying to convince him of coming with him. Crowley keeps saying no. Aziraphale sort of behaves like he knows that eventually Crowley will say yes. Crowley keeps saying no. Now Aziraphale is getting frustrated because this isn't how things usually go. And then Crowley says his final no and goes away.

This isn't how it usually goes. I mean, yes, they have gone their own separate ways before and Crowley always comes back but Aziraphale knows this time is final. It feels final.

That being said, they need to grow. They need to grow on their own so they can then grow together.

Both of these lovely idiots who I hold very dearly to my heart need to learn about all this on their own so then, when they get back together, and yes they will, but I'm sure it will be way more meaningful this time, they can love each other better.

it's good for your mental health to have mutuals who are wildly horny about kinks which do nothing at all for you

You Say Potato, I Say Excellent! Or blocking, accents and legacy of morality tales in ‘The Resurrectionists’ minisode PART II

Alternate title: how Aziraphale’s naivety in this episode was supposed to make you a bit outraged

I have to shout out to @bowtiepastabitch for their AMAZING historical analysis of this minisode - it prompted me to finish this long ramble that has been drifting in my notes. Anyway, I have a major obsession with the ways blocking and dialogue interplay in Good Omens - you can check out my analysis of the blocking in the flashbacks in S1. But The Resurrectionists is really something special. This got so long I am splitting it into two parts. 

What we see in this minisode is a morality tale - a genre of children’s literature that was extremely popular in the early 1800s where the minisode is taking place. Catch up on the historical background in Part I.

When looking at this minisode, it is really important to look at two complementary narrative tools - Crowley’s accent and the placement of Aziraphale in relation to Crowley. Through the minisode, Crowley switches between his standard English accent and a delightful Scottish accent. But the switching isn’t random!

Scottish lines =  character Demon Crowley, who moves the plot of the story along

English lines = Crowley, the moral guide leading Aziraphale

Additionally, the two of them swap sides in their blocking frequently in this episode. Their standard placement is A/R + C/L but the swap to C/R + A/L is almost the norm in this minisode.

Analyzing Blocking and Dialogue

We open in the graveyard, with Aziraphale and Crowley in their standard placement, observing the statue of Gabriel. But then they notice Elspeth, digging up a corpse. When Aziraphale approaches Elspeth to inform her that her actions are Not Good, he actually ends up swapped with Crowley and finds himself on the left because what he is doing - making moral judgments on the actions of Elspeth with no understanding of what led her here - is doing Good, not good.

The next scene finds Crowley helping Elspeth cart the corpse away from the graveyard, while the trio debate all the other ways Elspeth could make money - Aziraphale suggests running a bookshop, farming, weaving, giving the standard Good party line about hard work blah blah blah. Aziraphale remains on the left - after all, those supposed options are completely unrealistic, unobtainable professions for someone in Elspeth's socioeconomic position. They aren't remotely helpful suggestions.

Aziraphale only finds himself back on the right when he and Crowley are introduced to Wee Morag, and have some time to listen and observe the reality of their situation.

Then, off we go to complete our journey to sell the body. Aziraphale and Crowley find themselves having a debate about morality, but Aziraphale is again ON THE LEFT as he waxes poetic about the virtues of poverty - doing Good, not good again. What I loved here was you saw the clear purpose between Crowley’s two accents as he switched mid-line -

Crowley: (SC) Oh, I'm down with wicked! (EN) Anyway, is it wicked? She needed the money. 

Upon reaching the lodging of Mr. Dalrymple, FRCSE, Crowley and Aziraphale take their standard places but this scene has one really important moment that I want to highlight. When they open the barrel to find the rotted corpse, the look on Crowley’s face is so telling. He often finds Aziraphale’s machinations amusing even when they are annoying, but here he looks decidedly disappointed. Aziraphale might have done Good by rendering the body unsellable, but what good did it do? The body is still been un-interred. Elspeth has wasted her energy, and has made a terrible first impression of the surgeon whom she needs to pay her for her services. It looks like Crowley wants to say something, but he stops himself and clenches his jaw. The PATIENCE he is showing to Aziraphale - this is a quality that Crowley has in SPADES but we really see him exercise it here.

After the discussion with Mr. Dalrymple, in which Aziraphale realizes the importance of dissections for educating medical students and thus leading to better care for the living, he asks the right question - why should the poor have to risk death to obtain bodies? But he let's himself get sidetracked by a blatant appeal to his emotions...

At this point, Aziraphale goes all in on body snatching being Good. Which... it still isn't because it is based on a broken system that disadvantages the poor? FOCUS, angel. He even goes as far as to offer to help Elspeth and Wee Morag in obtaining another corpse but note that again, he is on the LEFT -

Remember, Wee Morag is deeply conflicted about the morality of body snatching, and instead of explaining anything to her (like, that having your body dissected won't keep you out of heaven would be start) Aziraphale just sort of joins Elspeth in pressuring her to join in - which is pretty awful and coercive, but gee if that isn't just heaven's playbook for doing Good, not good.

So we return to the graveyard, and this is where everything goes sideways. Aziraphale spends basically this entire sequence on the left. First, he notices the ingenuity of the grave guns but fails to acknowledge the travesty of so much energy being spent on protecting wealthy corpses while the poor suffer. Then, the tragedy strikes. After Wee Morag is shot, Aziraphale wastes time justifying saving her, resulting in her dying before he can act. And after all this, after the heart break of seeing her partner die, we see Elspeth come to the logical conclusion. If body snatching is Good, then might as well take Wee Morag off to Mr. Dalrymple, right?

What shouldn't be overlooked is what takes place when Elspeth gets Wee Morag's body to Mr. Dalrymple. Because while Aziraphale is very clearly illustrating the dangers of black and white morality through religion, Dalrymple is showing that black and white morality through science is just as bad. Dalrymple has unshakable belief in the power of science and knowledge to alleviate human suffering and sees his work at Good. He cares about preventing illness, but ignore his role in perpetuating poverty - an unfortunate side effect of rigid belief systems of all shapes and sizes. He is downright cruel to Elspeth.

This is already getting real long, so we won't go into the absurdist comedy of the scene in the tomb - suffice to say that the surreal nature of Crowley's bargaining with Elspeth smacks of a fantastic tales of pacts made with the devil. It's delightfully unhinged.

The one line I think worth pointing out?

"Do I sound like a goat?"

I think this line is key in the narrative connection between the three minisodes in S2. All three flashbacks show Crowley and Aziraphale engaging in acts of deception, but they all have important differences:

In A Companion to Owls, the two work together, and they manage to pull off the trick and evade punishment.

In Nazi Zombies from Hell, Aziraphale comes up with a plan and Crowley goes along with it, and they barely manage to evade punishment.

In The Resurrectionists, Crowley comes up with a plan and Aziraphale goes along with it, and Crowley is sucked down to hell.

I think it's worth noting just how silly Crowley is in the first two minisodes. Bildad and Scottish Crowley are FUN even when dealing real heavy shit. Just a complete joy to watch. And we never see that level of silly from him again. Whatever happened in hell was clearly really bad since the next time we see him in St. James Park he is asking for holy water. He may have moments, but he is never the same.

Questions, comments, additional thoughts? Lay them on me. I'd love to dig into new lines of inquiry on this minisode because I just love it so much <3

For Halloween in their South Downs Cottage, Aziraphale gives out full size candy bars and Crowley gives out potatoes.

All praise to DT – the patron saint and/or totemic being of us all, Who Cannot Sit Normally. 

I, for one, find this exact arrangement of lower extremities quite comfortable. Years of reading crouched in various crooks and nannies + breaststroke swimming have got my joints used to being put in positions that are not conventionally normal for the average human. Having knees that do… well, turn outwards, I guess is the right way to put it –  is pretty useful. 

Full credit for tag furniture_abuse goes to the incredible @mizgnomer, of course. (I'm awfully sorry if I'm breaching the Tumblr etiquette there, tagging non-mutual, but that blog is a bona fide treasure trove of all things DT-related, especially visual stuff.  It was the reason I came to Tumblr at all, for what it's worth.)

So, everyone has pointed out how funny it is that fifteen claimed to have gone through therapy and be fine now only to immediately act just like his old traumatised self and it is but like…

Has anyone considered fifteen was lying?

What if he hasn’t actually experienced that domestic bliss that fourteen got to enjoy or have fourteens memories following their split at all?What if he just told fourteen he did to convince him to stay on earth and be happy so fourteen could have a chance at happiness that fifteen believes he will never have and doesn’t deserve and his seemingly incredibly upbeat personality is just a facade?

I mean this sounds incredibly in character for the doctor to me tbh

'What if God's plan is really to get them together?'

'What if God actually wants the angels and demons to think for themselves?'

'What if God actually wants the Earth to be saved?'

These questions are missing the entire point of the story.

I cannot stress enough that this is a satire of Christian fundamentalism written by an atheist and a Jew. What God really wants or has planned is not remotely the point. God could be dead for all that it matters. We're never going to know more about God. And we're not supposed to base our notion of what's right on what God wants. That's what fundamentalism does. Good Omens is specifically subverting that.

The only real answer to these questions is 'It doesn't fucking matter.' We're talking about right and wrong, good and bad, as it affects people (human and otherwise). We have to decide what happens. God doesn't get a say. Maybe they'll approve, maybe they won't. Fuck 'em either way.

Blackpool was ... very good.

It’s a bizarre little show but I highly recommend it and you can watch it all in an afternoon.

It’s a musical but not a musical, and a murder mystery but not a murder mystery and there are barely any characters (apart from Detective Blythe and Hallworth bless them) who were completely bad or good all the way. In fact, the two male leads were so completely bang in the middle of morally grey that I still don’t know what I think of either of them and I don’t think I’ll ever figure it out.

When I say it’s a murder mystery but not a murder mystery I really mean it. That’s the premise, but there’s honestly a whole other show with the exact same premise where we actually focus on the detective who cares about solving the case, and that’s certainly not what this show is.

It’s a brilliant character study with no straight questions or answers that focuses on people you’re cheering one minute and disgusted by the next and it’s honestly just ... excellent.

An excellent, crazy, bizarre, little show.