@shadowfireflame / shadowfireflame.tumblr.com
TW for talk of assault, PTSD.
Welcome back to Alex's unhinged meta corner, and today I have something surprisingly not kiss-related—though it is still about the final fifteen because hey, gotta keep the brand image.
I read this post by @goodoldfashionednightingale and began typing a small response. Then I made the mistake of drinking half a litre of coffee on an empty stomach right after taking my adhd meds and my brain began vibrating at the speed of light.
But oh, have I discovered parallels. This, my friends, is about the nightingale, where it comes from, what it means, and what the fuck happened in part 3 of 1941.
Ready? Let's go.
Now, as OP said in her post, s1e3 is important. In the script book, Neil himself says that these flashbacks are where the producers would tell him to cut scenes to save money. They suggested every single one—except for the one he ended up taking out, which was the bookshop opening scene set in 1800. The others are building blocks, you need them to see how their relationship progressed and what kind of important milestones they had.
(side note: author is very miffed that english does not have a separate subjunctive form like german which makes quoting lines way more confusing than it has to be)
The one I want to mention is neither 1941 nor 1967. No, what I want to talk about is 1601. This might be about to get a bit rambly but I will do my best to keep it tidy.
The focus of that flashback is on the Arrangement, yes, but it gives us a lot more information than that.
What stands out to me in relation to what I am about to expand on is the line that Crowley delivers after Aziraphale's little 'buck up'—which Crowley finds adorable btw but that's a post for another time.
"Age does not wither nor custom stale his infinite variety."
Why would he say that? What exactly is prompting this? WHY say that specific line?
At first I thought it might be to tempt Shakespeare because he does commit art theft by just copying that line down, BUT I think there is more to that. So much more, in fact. I am wiggling now because I am very excited about this and my adhd meds are kicking in anyway.
First things first: the line itself.
It appears in Shakespeare's play Antony and Cleopatra, a romantic tragedy, which was first performed in 1607 aka six years after this meeting. Enobarbus is talking about Cleopatra and describing why Antony won't leave her. Her.
Ccrowley uses his—again, who is he even talking about? Hamlet? Shakespeare? Random poetic quote?
No, I think this line is about Aziraphale and it's a code. Right after, the next line from Aziraphale is "What do you want?", meaning that this is their code phrase for 'I have a favour to ask of you'.
Age does not wither nor custom stale his infinite variety
Age will not affect his appearance nor will he ever become boring to Antony. Crowley, who later chooses the name Anthony for himself, tells Aziraphale, an immortal, that he will never age and that he will never grow bored of him.
It's flattery, pure and simple, and it's code at the same time. This establishes the important fact that they might use more of Shakespeare's work as code/already have a system in place (even though he steals Crowley's line for later).
They play their little morality game of back and forth, Aziraphale agrees, Crowley probably manipulates the coin toss, and THEN we find out that the oyster woman is called Juliet.
Why? What is the meaning of that? Why give her a name and that name in particular? Why bring the sexy oysters back into it?
Romeo and Juliet premiered in 1597, so it is safe to assume they have both seen it by 1601, but this is mostly for the audience, not for us-or is it?
Aziraphale gives Crowley puppy eyes until he agrees to make Hamlet popular, and while I don't think Juliet itself is a code word, although it's very interesting that the OYSTER woman is the one with that name (especially adding what we now know about Job), Romeo and Juliet might be.
Yes, the Nightingale song came out in 1940 but the bird has been around for much, much longer, and, as many probably know by now, also shows up in Romeo and Juliet.
This is where I am starting to vibrate at the speed of light because listen to me. Listen.
Crowley is Juliet. Anthony J. Crowley. Antony Juliet Crowley.
(side note: I'm not saying that Crowley chose it based on that—though I am not not saying that—but that it is a clue for us at the audience.)
Why do I think that? In the play, Romeo spends the night with Juliet and then goes to leave as the night begins to end. Juliet tries to stop him and tells him that the birds they are hearing aren't larks, which sing at dawn, but nightingales, which sing at night.
Who is the one always pushing for more? Crowley. He is the one trying to convince Aziraphale it's safe, they're safe to spend time together.
Romeo disagrees with Juliet and says 'I must be gone and live, or stay and die'.
Leave and stay alive, or stay and hell/heaven will punish us. It gets even better though.
We all know how Romeo and Juliet ends: Romeo thinks Juliet is dead, kills himself, Juliet finds him and then kills herself too.
Hey, do you know how Antony and Cleopatra ends?
Antony thinks Cleopatra is dead, kills himself and dies in her arms, then Cleopatra also kills herself—by snake poison; Romeo also died by poison.
The parallels are THERE. They are jumping down our throats! Two tragedies, two sides, several familiar names and phrases, same fear, same ending.
I think by now you can guess how this ties back to 1941.
We do not see how that night ends, but we know it ends. One of them wants to stretch it out, maybe even quotes Romeo and Juliet because look at the setting!
Candlelight, wonderful night they spend together, the threat of Crowley's early demise, and, to quote the play once more, this time Romeo: I have more care to stay than will to go.
Crowley thought it was his last night on earth and went with Aziraphale to his bookshop, to be with him, because he cares more about that than the fact that he will be dragged to hell come morning. Do you remember?
"Expect a legion to come for you first thing tomorrow" THAT is the threat. They have until dawn, just like Romeo and Juliet, which is why she is so desperate for the birds to be nightingales. Fortunately for them, Aziraphale saves the day, BUT there is NO SECURITY. They do not KNOW if a legion will still show up or not. If dawn is a deadline and they will need to fight.
Sure, they improved their chances, but who knows? Maybe they will come for him anyway, it's not like hell is all fair and square.
The best part: it gets even better.
Juliet eventually panics and tells him to go, and Romeo drops a line that huh, sounds oddly familiar, doesn't it?
'More light and light, more dark and dark our woes!'
Remind me, what does Aziraphale say again? Ah, yes. Perhaps there is something to be said for shades of grey.
There is more. Yes, even more. We know the whole rescue relies on a magic trick, a switch. Guess what Juliet yearns for while telling Romeo to go save himself?
Oh, now I would they had changed voices too. While they did not for Romeo and Juliet—they kiss and part—they did for our two. One fabulous switch and we're good.
(side note: Toads? Associated with hell. Larks? Associated with the dawn, yes, but also heaven since Romeo says 'Nor that is not the lark, whose notes do beat the vaulty heaven so high above our heads.')
So, this was a whole lot of information, let's see if I can summarize my thoughts.
I believe the nightingale is a code word that has existed even before 1941 and gained a lot of importance over the years. In 1941, the song is added to the meaning and whatever happened between the two that we have not seen yet, it fundamentally changed their relationship. Maybe they kissed, maybe one of them tried to convince the other to prolong the night but they parted on not-great terms.
The nightingale and the song become a symbol of hope, a goal to achieve, another uninterrupted night, maybe, or an uninterrupted life.
When they part in the final fifteen, it's morning. Crowley points at the sky and says "no nightingales", which at that point has several different layers to it.
No nightingales because their night is over, just like with Romeo and Juliet, and please, please allow me to add another detail, because I am frothing at the mouth over this. The scene I quoted, known as balcony scene, do you know what it is preceded by?
A ball.
Star-crossed lovers defying their sides, falling in love at a ball, getting a hurried, wonderful night together but torn apart by danger of punishment, the nightingale as a dream, as a wish for unhurried time together. Family rejection, torn apart by parents, willing to die for each other so they can reunite in death.
No nightingales. The ball, the romance, is over, their dancing is over, heaven is tearing them apart, and Aziraphale returns to heaven while they are both stuck in a pit of misunderstanding and miscommunication, all bound together by fear for each other.
The thing is, Crowley hates tragedies, he never liked the "gloomy ones", and he does not want them to end in one—luckily, this isn't the end. Yes, they kiss and part, but the play keeps going. We have an entire act 3 to fix what Romeo and Juliet couldn't, to ensure that this is a COMEDY, not a tragedy.
Both Antony & Cleopatra and Romeo & Juliet died out of fear, hurried into making bad decisions because they knew what would happen if their sides were to catch up with them.
Crowley and Aziraphale can reunite heaven and hell with love, not death. This is THEIR story and they are writing the ending. No more day and night, no more deadlines, no more hiding and sneaking about, no more fear of larks and sunshine.
Good Omens will end the way it began: In a garden with two no-longer-star-crossed lovers embracing the song of a lark as well as that of the nightingale.
I hope this made sense to everyone who was no present while my mind started to vibrate itself into a puddle because the thing is I can see Neil doing all of this completely on purpose.
Thoughts? Questions? Additions? Come and join me in my insanity and until next time I have a mental breakdown over this show (probably in like two hours).
Tis but thy name that is my enemy.
A reflection inspired by Good Omens 2
One of my favorite Tumblr posts on the second season of Good Omens 2 was actually not about the series at all, but our reaction to it, primarily the ending. @zehwulf wrote, “I think a lot of us—myself included—got a little too comfortable with assuming [Aziraphale and Crowley would] work on their issues right away post-Armageddon.” We did the work for them through meta, fanfiction, fanart, and building a plethora of headcanons. Who among us AO3-surfing fans didn’t read and love Demonology and the Tri-Phasic Model of Trauma: An Integrative Approach by Nnm?
In the 4 long years since season one was released, we did more than seek to understand and repair rifts between two fictional beings: we were forced to reckon with ourselves too. We faced a global pandemic, suffered traumatizing losses and isolation, and were forced to really and truly look into the face of our atrocities-ridden and capitalistic world. The mainstream rise of Diversity, Equity, Inclusion and Justice work, and our participation in this work, showed us that the systems in place were built to oppress and harm most of us, and they are.
So, what does this have to do with the evolution of “happily ever after”?
My friend put it best in a conversation we had following the season finale, when she pointed out a shift in media focus. The “happy end” in old stories about wars and kingdoms used to be “we killed the evil old king and put a noble young king in his place and now citizens can live in peace” and we’re transitioning into a period of “we tore down the whole fucking monarchy.”
If we look at season one, written to follow the beats of a love story, it comforted us by offering a pretty traditional happy ending pattern: you get your fancy dinner with your special someone, the romantic music plays, and you have a place to call your own. Season one’s finale provided a temporary freedom for Aziraphale and Crowley, the “breathing room,” but it didn't solve the problem that was Heaven and Hell, or the agendas belonging to those systems of oppression.
Is it good enough to keep our heads down, pretend the bad stuff isn’t happening, and live our own personal happy endings until we die? Moral quandaries aside, if you don't die (or if you care about the generations after you), then, like Aziraphale said, it “can’t last forever.” There’s a clear unpleasant end to the “happily ever after” that’s based on ignoring our problems– it’s the destruction of our relationships, and humanity.
Ineffable Bureaucracy can go off into the stars because they do not care about humanity.
You know who does?
Aziraphale.
And Aziraphale knows that Crowley cares about humanity too. (He knows because Crowley was the one who proposed sabotaging Armageddon in the first place, who only invited him to the stars when he thought all was lost, because Crowley would save humanity if he thought it was possible, and Aziraphale knows Crowley has survived losing Everything before, and he will do all in his power so that Crowley does not need to experience that again.)
In season one and two, we see how much they care and humanity, beyond their orders, to the point The Systems begin to frown at them. Aziraphale hears Crowley’s offer to run away together in the final episode of season two, to leave Earth behind, and just like the first time that offer was made in season one, he declines. He knows choosing only “us” is not a choice either of them can live with for the rest of eternity.
I believe season 3 will provide an opportunity to “dismantle the system,” but I don’t know how it will play out. I worry that Aziraphale has put himself in the now-dead trope of the “young noble king.” (I wish Crowley had told him why Gabriel was dismissed from his duties.) I worry that he would martyr himself as a sole agent for change. I worry that he doesn’t actually know how to dismantle anything by himself: because you can’t. He needs Crowley. He DOES. He needs Crowley, and Muriel, and other angels and demons and humans without fixed mindsets to help him. Only by learning to listen and making room at the table for all can they (and we) move past personal satisfaction to collective liberation.
Crowley was right when he said that Aziraphale had discovered his “civic obligations.”
So, I think we will get our modern-day happy ending– and it’s going to involve a lot of pain and discomfort, communication, healing and teamwork– and in the end, it’ll all be okay. There will be a time for rest and a time for “us.”
And most likely a cottage.
“Do the best you can until you know better. Then when you know better, do better.”
- Maya Angelou
Support the SAG-AFTER strike and other unions. Trust @neil-gaiman. Register to vote if you haven’t yet. Hold yourself and others accountable with compassion. Read books. Keep doing the work. Rest. Then watch Good Omens 2 again.
On Crowley, memory, and identity.
Hey Ivy! I saw you were just in London. I'm going at the end of May/beginning of June! Any recommendations? I've already done the main sites (Tower, Crown Jewels, St Paul's, & Westminster Abbey). Did you do anything a bit off the beaten path? Something maybe most rushing tourists would miss? I'm collecting suggestions from anyone I can, & I feel like (based on your blog) we'd have common interests lol. Thanks! :) 🇬🇧
Oh this is my favourite question ever! Do I have recommendations? Gosh, I have a few…
Let me know if you need more! I could go on and on…
Hello! I’m taking my first step into the original author game with my book Box 1663, available as an ebook on Amazon.
You can also visit my website, alexsorel.com, which also serves as my new tumblr, and follow me if you wish! I’m hoping to make it mostly original content in the form of short essays.
This is exciting and nerve-wracking for me! :D :D I’m not out of the fanfic game by any means, though. I’m looking forward to beginning my Fandom Trumps Hate story for @sundayduck very soon!
Aaaaah!!! Fantastic news!
Lineart of the illustration for the final chapter of my post S3&TAB/kidlock fic The Summer Boy.
This is so beautiful! Wow!
John regrets not getting a donut too.
Awww, John and Sherlock visit Canada!
Working on some ideas for enamel pins! Two pins, John and Sherlock, connected by a chain, so they are ‘handcuffed’ together :P And a Cerberus pin based on my wolf design for them in The God in the Field!
i could start a family i could have a home with you.
Mycroft: This is a private matter. Sherlock: John stays. Mycroft: This is family! Sherlock: That’s why he stays!
Still my favorite gif and scene. I mean, parentlock is canon, John is happy and sherlock holds Rosie. This is my life now 🙂
We all love to see our favorite detective go through the wringer. Not Johnlock or smut unless otherwise stated. Be sure to double check the warnings and tags. To see a list of fics that focus on Sherlock being mentally ill or unstable, click here.
For Love Up Fic Writers Project - Day 6
My favorite trope!
o fucking shit am i slow … so very slow fuck
of course! Sian Brooke was Ophelia in Hamlet! She was my most favourite actor on stage (next to Benedict) … Fucking hell … and that means i got her signature on my hamlet booklet! :) :)
my best pic of her
I completely forgot that she was in Hamlet too! How cool!
She and Benedict must enjoy working together!
First photo of Benedict Cumberbatch as Edison who is filming The Current War.
OMG, so excited for this!!!
Into the Sunset
Someday the true story may be told.
This is gorgeous!!!
Stunning. Just. Stunning.
