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#nikku.txt
Dear Good Omens fandom friends,
can we please agree to keep our sand in our sandbox?
We have a great sandbox. It's big and full of people building castles and villages and roads and stuff. Some of that is big and complicated and detail-oriented, some of it is strange and weird and funny, some if it is off-the-rails in any and all senses of the word. All of it is lovely. Some of it tries to rebuild Neil Gaiman's sandcastle as faithful as possible, either to build onto it or to try and find out where the secret rooms might be hidden. Some of it looks a lot like his but has its own little turrets and courtyards and gardens added everywhere. Some of it looks completely different and doesn't try to hide it. Some of it isn't even meant to be taken seriously and just exists to make people laugh. But there is so much of it that everybody can find something for themselves; and if we don't we just find a free space and start shifting sand ourselves.
Neil Gaiman has his own sandbox. He has built something brilliant and beautiful in it, and he is currently busy building another storey onto it. He doesn't want anybody to see the new part before it is finished, and I know that sometimes the excitement of finally wanting to see it is hard to bear.
But that is why we have our sandbox. To make our own stuff until he reveals the rest of that sandcastle we all love so much. To pass the time, to have fun with it, to meet new people and find more brilliant little sandcastles. Never again will there be as much creativity, as much activity, as many people around in this sandbox than there is now, in the time before the last bit of his castle is revealed. I am sure most of us will be delighted and surprised at what he will have created. Some will be disappointed because they were expecting his sandcastle to look different, some will be disappointed because they saw a castle in our sandbox they liked much more, but most will be delighted because after all we came up with he will still have managed to surprise us.
Our sandbox. His sandbox.
The two are separated for a reason.
Because if you keep throwing sand into his box to get his attention, or keep trying to get a good look at what he is doing over there, or keep yelling at him to look over to ours and tell you which one looks like the one he is trying to make, or which one is the best, or how stupid one of the others looks (last one would also make you a dick), you are quite simply risking the new part of his sandcastle to collapse. Or for him to have to remake it in a way he didn't plan to, or simply dislikes, or that we will all dislike.
And just because he is glad we are enjoying ourselves and proud that his work inspired us to create all these things, doesn't mean he wants to see (all of) it. Some things he definitely wouldn't want to see; other things the creators definitely don't want him to see.
I'm proud of our sandbox. It's huge. It's brilliant. It's creative. It's collaborative. And it's ours.
Have fun in it. But keep it apart from his. Keep out of his. And keep him out of ours. Stop trying to drag him over. He has stuff to do. Important stuff. Stuff I, for one, am waiting very impatiently for.
And he will never show us the parts of the castle that aren't finished yet, no matter how often you ask. And just because he is making an effort to be funny about it doesn't mean we aren't annoying him when we keep asking.
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aetherworlds · 2 years
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what does blazing posts mean..
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I feel like we're not talking enough about Ed being the "dude I don't know what you're talking about, I'm totally fine, maybe you're the one who has a problem, whatever, I don't care"-ex when he first meets Stede again at Anne Bonny's antique shop.
Because I found that as hilarious as it was heartwrenching.
Guy was so deeply hurt and despairing that he tried to commit sucide by mutiny only a couple of days ago and now he's like "feelings? Nah, I don't have feelings, and if I did, you couldn't hurt them".
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David Jenkins was not a Big Name Showrunner before OFMD. In fact, I had never heard of him before. I am not even sure what he did before OFMD, according to IMDB he wrote exactly one other show and it is one I have never even heard of before.
And he somehow got HBO to make his weird little show about gay pirates, and he got Taika Waititi to help with it, and while nobody was expecting anything of it - I mean come on guys, remember when OFMD dropped and everyone only gradually realised what it was - it became The Little Show That Could. With almost no advertising. No marketing. HBO did clearly did not expect this show to be anything, to make any real money or to go beyond one season.
But then it blew up.
Because David Jenkins was so insightful, he was so good, he brought so much fresh wind into a business where we usually can tell how the next three steps of how any show is going to go (and to be fair, a lot of us feared that Izzy's death in season 2 was coming, because all the signs fit), that we put him on a pedestal.
THE FUCKING PEDESTAL.
Yes he is brilliant. He has done stuff with OFMD that you never ever see somewhere else. He has understood that historical accuracy, as well as physics and geography, are merely backdrop for plot and characters. Completely irrelevant if you need them to be, but then suddenly important if you have a bit of story that won't work without. He understood that queer relationships deserve to be told, and when confronted with skeptic fans he learned about queerbaiting.
He took a lot of tropes and put them on their head. He structured his show like fanfic. He put thought into his stories instead of following the beaten track. He single-handedly raised the bar for every showrunner out there.
But it is still only his second show.
If he didn't shine so brightly during OFMD's first season, nobody would have expected so much of him.
And yes. He dropped the ball on Izzy.
I loved Izzy to pieces ever since season 1, I wanted to pin him to a board like a bug and study him and take him apart and put him in a blender and in situations, I loved to hate him and in season 2 I loved to love him. He is such a brilliant, complex character, so well written and so well played by Con O'Neill; the options for character analysis, relationship analysis, various interpretations of everything he has done, are simply limitless. 🤯 That is due to David Jenkins & Con O'Neill.
And David Jenkins, standing in the spotlight of all of our exaggerated expectations, decided it would have the greatest emotional impact if he killed him. He made him a symbol, for the end of The Golden Age of Piracy™, and he killed him.
He was right.
He was not original.
He fell for one of the very tropes he so successfully fought in season 1, and for the most part of season 2.
Procuring an emotional response by having a beloved character, who was just starting to embark on an exciting new journey, die tragically and emotionally, providing motivation for the remaining characters.
It was a cheap move.
It is not a Bury Your Gays. Everyone is queer on this show, you can't call something a Bury Your Gays if that would be true for every character death.
But Izzy was also old, and disabled, and he had survived a suicide attempt (that he was driven into, not chose for himself), and had just had an arc of growth and character development that could have gone on for such a long time after this. He had just learned to trust and be vulnerable and experience (gender)queer joy. God, there were so many places his character could have gone.
I loved Izzy as a character, I didn't relate much to him. But Your Mileage May Vary, and I am so, so sorry for everyone who did. You didn't deserve this.
But David Jenkins? Is still sooo much better than any generic bland showrunner that is going places in Hollywood. You want to boycott anything, boycott the big streaming services that don't have the guts to make their main characters queer, to think that "a bit of both" is inclusive or bold, and who drive out any creatives that object and try to sneak in inclusiveness. They are the enemy. They are systemic discrimination and injustice.
David Jenkins is just starting out. And he did so much better on his very first successful show than anyone who has been in the business for years. If anyone deserves a chance to prove that he can do better, it's him.
I'm sure he'll come to regret his decision. I'm sure he'll see where he went wrong, how he could have done better, and fix it in any show he might do after this. I, for one, would much rather see any show he is involved in than most of the crap that the AMPTP is putting out, now or in the future. He can only get better. And he did do a lot of things right. Never forget that. Because the majority of showrunners can't even do the minimum, and David Jenkins went above and beyond.
I think he deserves a little slack. If anyone in the streaming industry does, it's him.
It's the fucking pedestal that is the problem. It makes people who do good but are not perfect suddenly look worse than the most cowardice, opportunistic mediocre guy. But they are not and they deserve a leg up, or we are stuck with the worse option who gets support from all the wrong places. Don't fall for it.
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I think "Bad Writing on Purpose" is a misnomer.
And people focus too much on it.
First of all, I really don't understand why people were surprised by the cliffhanger. Everyone was talking about how Neil said season 2 was going to be "quiet, gentle, and romantic" but nobody noticed that he also, on multiple occasions, wrote that season 2 was not the sequel he and Terry plotted, but what needed to happen to get the characters to where they needed to be at the start of what they plotted as the book sequel but would now be season 3. He was always completely open that season 2 was a bridge, and after reading it here and there before season 2 came out, I for one knew that season 2 would most likely end with a cliffhanger.
I mean, I surely didn't know we would get OFMD-ed, that was indeed a surprise, but I knew there would be a cliffhanger. Why didn't you?
Now I have read ariaste's famous 15 000 word essay. I find her theory quite brilliant. I don't think she will be (totally) right about it, it's too specific and too reliant on her assumption of how the Book of Life works. I also disagree with some of the details of what she calls "bad writing". Especially Maggie might just be portrayed as a dork neurodivergent. And some of her visual "clues" already turned out to be simple homages. (Not "The Crow Road", though, I think. Yes, Neil and Terry were friends with Ian Banks. But he has written like 40+ books, why choose THAT one, the one that deals in part with people solving a mystery by going through old documents, just after we are shown that Aziraphale keeps diaries and definitely leaves them in the bookshop when he's going to heaven? Even if we ascribe its first appearance to the famous opening line which Gabriel reads aloud, why show the same book a second time, mid-frame?)
Also, yes, I disliked that Aziraphale's & Crowley's new first meeting put them on the wrong foot with each other, when their meeting in Eden had established them as kinda instant co-conspirators from the very beginning. The same with Crowley in the Job episode being the one to introduce Aziraphale to worldly pleasures instead of him discovering them on his own. But that is sometimes what happens when you learn more about characters from new canon, sometimes it doesn't fit your established headcanon. You either roll with it or you choose to ignore that part of canon.
But I do think she is on the right track. And the most important thing that ariaste pointed out is still the missing/unsatisfying payoffs and the unfired Chekov's Guns, which I am pretty sure is the very reason this season felt so "off" for most of us and why ariastes theory found so much resonance. But I wouldn't call that Bad Writing. I would call that at most Weird Writing Choices. Especially if
you view the whole of season 2, the bridge season, the quiet gentle and romantic interlude, as one. giant. setup.
Having Aziraphale use his never-before-mentioned halo as a deus-ex-machina option to defeat the demons in his bookshop is a weird writing choice. Especially when we know we have a literal Chekov's - Derringer - Gun hidden somewhere in there, which is not being used. Mentioning the Book of Life several times and have it be of no consequence, Crowley even doubting that it really exists, is another unfired gun. The Nazi-Zombies, which are somehow left to their own devices and never mentioned again, could be a Chekhov's Gun - and I feel a lot better knowing now that yes, the living dead are apparently part (a sign?) of The Second Coming.
But it isn't bad writing. It is setting up season 3. It has always been about setting up season 3. We got a nice, little, quiet gentle and romantic, fan-fictionesque Ineffable Bureaucracy main plot to go with it, but that was never the raison d'etre for season 2. It's main purpose was always to set. up. season. three.
After all, most paraphrasings of "Chekov's Gun" speak of acts. If a gun is shown in act 1, it has to be fired in act 2. If a gun is shown in one act, it has to be fired the following. If we look at Good Omens as a 3-act-story, with one season being one act, then all the Chekov's Guns were shown to us in act 2, and are not required to go off until act 3 - meaning season 3.
All of you who dismiss this and go "no one ever wrote bad on purpose just to fix it in the next season, why not accept this season was just bad" are missing the point, because you fixate on the "bad writing on purpose" misnomer. It's not bad writing. It's delayed gratification. It's setting up a payoff over more than one season. Which you can absolutely do if you have a plan, if you know where your story is going. It is what everyone still seems to expect from J.J. Abrams, even though we should know better by now. His setups never pay off, because he sets up things he never intends to resolve, never even has an idea about how they could be resolved, and keeps getting away with it. And yet, the overwhelming presence of his shitty writing in media has probably screwed with our expectations from mystery shows, which thanks to him are not very high. But I truly believe that Neil Gaiman (and John Finnemore, a frickin' COMEDY writer, for whom the setup-payoff concept must actually be like breathing) are both simply better than that windbag. There will be a payoff. Only later.
I believe we will come back to the halo. Aziraphale's Derringer Gun will be fired. The Book of Life will have meaning, even if it is different from what we might theorize. The Zombies will at least be mentioned. And I think even the weirdly framed and then forgotten Eccles cakes will make another appearance. We will have an actual, big-stakes gen plot next season. Aziraphale & Crowley will be stopping another apocalypse. It will have to do with Crowley's "all of us against all of them" line from season 1. It will have Anathema & Newt (I remember one Tumblr ask before season 2 where Neil was asked if they would come back for season 2, and he answered no, but they would hopefully be in season 3), and I personally think they're gonna regret burning that second book from Agnes. Crowley & Aziraphale will not have much time to talk about their relationship or to feel sorry for themselves, as a lot of fans seem to expect. This will not be fan-service, this will not be fan-fictionesque. The bigger picture is the second apocalypse and once again saving humanity, and saving earth. Doing that, Crowley & Aziraphale will find common ground again, they will find each other again. They will end up in their shared cottage in the South Downs, openly in love, and everything will be ok. I don't know exactly how, and I don't want to speculate too much, because that almost always ends up with me being disappointed by how canon actually turns out.
But I believe in Neil Gaiman. I believe he cares. I believe he might even care more about "Good Omens" than about any other of his creations. And I believe in the Brilliance of John Finnemore. I don't believe that he would have let Neil get away with these setups without real payoffs if he didn't see the point of them.
(And if Amazon and their greedy CEO/shareholders are the reason we won't get a third season, you'll hear about me in the news, I swear. 😡)
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Aziraphale: "I'm going to Heaven to make it better, to make sure the Angels actually do good, and to prevent the end of the world!" Human Good Omens Fans: "Ew, dude, NO, really BAD idea, don't do that! Stay home and keep kissing Crowley."
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Unpopular opinion but one of my predictions for Good Omens season 3 is that there will be no apology dances from any parties whatsoever.* Neither of them has anything to apologise for, or if you like, both of them have things to apologise for. Neither of them was "wrong™️." (Or, more accurately, both of them were equally wrong.)
If you haven't understood by now that both their actions during the final fifteen were absolutely in line with their characters, not to mention the added miscommuncations and a simple case of bad timing, then I can't help you. They put each other in impossible situations, and neither of them could have done anything different (without actually going ooc).
You might relate to the experiences or motivations of one character more than you do to the other, but that doesn't make the other one objectively wrong. If you put aside your own bias and examine their characters, their storylines (i. e. their vastly different experiences with Heaven despite knowing each other for more than 6000 years), and motivations you should be able to understand and explain their behaviour in the context of the story. Add in the miscommunication and the bad timing, which Neil Gaiman & John Finnemore have expertly made visible to us, the audience, but of course not to the characters, and violá! Great piece of writing that is highly enjoyable to analyse and discuss.
Of course you can still pick Blorbo A's side. But if you are thinking that means the moment they are in conflict with Blorbo B your job is to go at Blorbo B with the worst faith approach possible, to prove to all the world fandom that they are and always have been The Worst™️ not to mention objectively wrong, while your Blorbo A is the most innocent cinnamon roll in the world who has never done anything wrong ever and is the clear moral winner of the conflict, then that's a skill issue. Also you might just want to go outside and touch some grass.
*= Except maybe in flashbacks. I really want to know what happens in 1941 Part III that Aziraphale had to do the dance.
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No I'm not insane why do you ask? 🙈
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Something that really gets to me during re-watches is Taika's line delivery of "and some maniac got rid of the wheel"!
I don't know what it is yet, and it's by far not the most unhinged thing he says or does in these 3 episodes, but something there keeps ... tugging at me.
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I have already written posts regarding the Final Fifteen about apology dances or assigning blame, but as I was typing out an answering comment on one of these posts I realised I hadn't talked about the concept of the apology dance itself yet.
The apology dance is another reminder that Good Omens is a comedy. It is a silly little ritual between our beloved blorbos. It is supposed to be funny. Or sweet.
When Crowley "had to" do the apology dance in episode one, he hadn't really been "wrong". Yes, he hurt Azi by refusing to help and leaving him alone with the problem Gabriel. But he had his reasons, just like he had his reasons to change his mind and come back to help after all. This is another point in which the Gabriel-plot and the Final Fifteen mirror each other. Neither of them were really wrong here, either.
But when Crowley came back after trying to get as far away from Gabriel as possible, Azi decided to be petty about it. That's it. He was petty. He saw an opportunity to go "bitch, dance for me" and he took it.
Crowley could have been petty about it too. He could have insisted that he did nothing wrong. He could have accused Aziraphale of dismissing his fears. He could have refused to do the dance. If he had, it would have stopped being a funny situation very quickly.
But he didn't. Because he actually likes the angel's petty, bitchy side. And he likes to indulge him. So he did the dance. And all was well.
But after the Final Fifteen it wouldn't be funny for either of them to react to the other one returning with "bitch, dance for me". The emotional fallout was too high. The emotions accompanying their reunion will run just as high. The apology dance, their silly little ritual, is utterly useless in a situation with stakes as high as this. Even if you could somehow assign the blame. (And anyway, if the parallels to the Gabriel-plot continue, Crowley would have to be the one to do the apology dance again, when he comes back to help again, especially if, as it is quite likely, it turns out to be really important to the plot that Aziraphale has inside connections now, just as Crowley had during the first armageddon, and they would have failed to save the world without that.)
I still want to see the apology dance from 1941 and the reason Azi had to do it. It will probably be hilarious. And if Azi ever scratches the Bentley, I want Crowley to be reeeaaally petty about it and demanding the dance with the same kind of dom attitude. And I want Azi to cheekily oblige. I would absolutely love that.
Because Good Omens is a comedy.
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Btw, if it turns out that Lucius really was hiding out in the secret passageways of the Revenge, I'm kissing you all on the mouth.
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Ok so hear me out...
Angels are angels*, not humans. But when they go down/up to earth they are issued human bodies. Fully functional** human bodies. They don't age, they don't get sick, they don't need to eat, drink, or sleep. But they CAN do all these things. They can even get drunk, though with the option to sober up on command.***
They don't feel hunger, but their taste buds are working normally, as evidenced by Aziraphale when introduced to the taste of the ox.
Now imagine... Aziraphale and Crowley in their shared South Downs cottage. Their relationship romantic, but not sexual. Because they love each other, but neither of them has ever felt sexual attraction or sexual desire.****
But what if...
What if, one day, Aziraphale decides he'd like to try it. (Oh come on, we all know that HE would be the one.) Just to see how it feels. And then he feels it, and he likes it, he likes it very much, and we all know once he's got the taste he's gonna devour Crowley the same way he devoured the ox.
And what if Crowley just goes along with it, not because he wants or needs it, but because there's nothing he likes more than to indulge his hedonistic angel. And then he gets his mind blown. He never knew that there was something that could make you feel so good.
And suddenly they both know that it's worth making an effort.
What then, hm? What then?
*= including fallen angels a. k. a. demons
**= to quote Data
***= Also, I am a 100% convinced that even though they eat & drink all the time, neither of them has ever had to use the bathroom.
****= Queerplatonic Crowley & Aziraphale are valid.
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Imagine a scene in season 3. They have finally found a way to stop the Second Coming. But it's dangerous, really really dangerous. Crowley wants to do it. Aziraphale doesn't want him to do it. They argue. Crowley doesn't understand why Aziraphale is so against it.
And suddenly Aziraphale bursts out 'because I can't lose you, Crowley. Because I love you, and what point is there in saving the world if you wouldn't be in it!'
And after staring at Aziraphale for a second, Crowley rushes towards him, same as before, but this time he grabs Aziraphale by the waist, and Aziraphale cups his face with his hands, and then they kiss, doing it right this time, and time stops ... and when they're finally done, Anathema, Newt, Nina & Maggie will have saved the world in the meantime, probably.
Imagine.
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I want to talk about that miracle.
All everybody ever asks is: why was that miracle so strong, is it because Crowley was a powerful angel before the fall (probably), or was it because Aziraphale & Crowley working together are more powerful than anything else (definitely)?
But nobody ever asks: why was that miracle so strong? I mean, they said it worked a little too well, when the angels & demons couldn't even recognize Gabriel when he stood directly in front of them and announced himself. But still ... does that really require a miracle the same strength as bringing someone back from the dead 25 times? We have learned that angels are rather unquestioning and demons rather dim, it should require fairly little to pull the wool over their eyes. And Aziraphale & Crowley didn't even think that it would take a big miracle, they planned to both do a little miracle, a very minor miracle, each a half-miracle that would barely move the dials, the tiniest, most insubstantial, fractional half a miracle they have ever performed. And after they did they even had to check if the miracle took at all.
So yeah, even if they accidentally overdid it - why to the amount of 25 Lazarii? And that without them even noticing!
Of course their delight at the successful hidden miracle followed directly by the scene of all the alarm bells in Heaven ringing with what literally looked like Red Alert was insanely funny. But once I stopped laughing, and they showed Zira's bookshop spewing purple miracle dust like a volcano, I immediately thought: that can't be it. I expected a soft glow around it, like a shield or an aura, but not a pillar of pink that went up into the sky space. There must have been something else in Zira's shop. What do we know was in the shop at that time?
Apart from Gabriel himself my first thought was his cardboard box. Up until the end I was convinced that the box contained more than just empty air. Even when the fly was revealed, I still thought there must have been more inside. Gabriel went to the trouble of taking the fly out of the matchbox and putting it in this much much bigger box. Why did he do that? It cost him a lot of time. He could have just grabbed the matchbox and be on his way! If he had taken a finer pen than the marker, he could have written a message on there too. From inside the elevator. And Soho would have gotten a longer and better look at his goods.
So I kept thinking that there must have been something else, invisible but enormously miraculous, inside that box. No not the fly. More powerful and more important than the fly. 25 Lazarii more powerful. The only problem with that theory is that when Gabriel got his memory back, he should have remembered what else he put into the box as well. And he could/would have told Aziraphale what it was. (I also don't think that the "something terrible" he referred to in his first conversation with Zira was his impeding memory loss, I think he was already talking about the second coming. And I think he wanted to prevent it, even while fleeing Heaven.)
But he didn't tell Aziraphale & Crowley anything. Was he so caught up in his reunion with Beelzebub that he forgot? That he didn't care anymore? Had someone or something removed certain memories from the fly, held them back? Or did he indeed not know that there was something else in the box, was it maybe given to him by somebody?
Yes, I have had this Box-Theory since my very first watch of the very first episode. I can't seem to let it go.
But even if it doesn't have anything to do with the box - I am still absolutely convinced that there was a second miracle. Maybe that miracle is the one that will finally make sense of all the dangling threads and open questions about season 2. Maybe it is the new context we are all seeming to look for. I have absolutely no fucking clue what it could be.
But I know that something was going on in that bookshop on that day that we don't know about.
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This isn't a break-up, dear heart, it's a season finale!
("Battle Cries" by The Amazing Devil)
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This user believes Aziraphale & Crowley are canonically non-binary asexual non-human beings.
Who have no idea what gender even is, even Aziraphale wears gay male english a.k.a. Southern Pansy like an aestethic rather than anything to do with sex or gender. While Crowley probably just goes fuck it we ball.
Give me aaaaaaaaall the explicit pwp smut fanfics* on them, but I would never ever want to see anything like that on the actual show.
*=(And even then I headcanon them as sex-positive asexuals or demisexuals rather than allos.)
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