As a film person, this is the most f*cked up thing that happened in all of Good Omens

Forget about the final 15. If there's anything that should convince you that there's something really wack going on in season 2 of Good Omens it should be this cut. I literally gasped when I saw it for the first time. It's SO BAD from a technical perspective. Because you've probably been watching TV and movies your whole life, you might instinctively feel there's something weird happening with this cut, but not be able to put your finger on what it is.

I am here to tell you: they sacrificed continuity of action to *change the main character of the shot in the middle of the scene*. I won't do a full theory course on filmmaking here, but basically, when you want a fluid-feeling sequence of shots, especially when there's quite a lot of movement on screen, you have to conserve the direction and intention of that action to feel like it's all one take, and time is moving forward like we're used to in real life. Here, Crowley, Maggie and Nina all leave the Bookshop together, with Crowley and Maggie flanking Nina, who is centred in the shot. They are moving towards the camera as the camera is walking backwards, but at a slight curve camera-left. Crowley even turns his head and swings his arm left, making us feel like the camera will keep Nina center, and pan left or even cut wider to see more of the left of the street to watch them cross.

Well SURPRISE, idiots!

Forget everything you learned in film school because we're cutting immediately to a second medium length shot of the 3 characters from a slightly more camera-right perspective for no reason whatsoever, in the *opposite* direction of where the action is going, WHILE THAT ACTOR IS SPEAKING A LINE. This is so counterintuitive to the blocking of the scene that Maggie literally gets shoved out of frame while we're supposed to be reading her reaction to Crowley's dialogue. I can't stress enough how weird it is on a fundamental level. When a camera is moving and a character is talking, conserving continuity of action is THE ONE thing you don't sacrifice. It pulls people out of the moment, and makes it extra obvious that multiple takes have been stitched together. Which leads me to think that this is intentional, and sets up what I hinted to at the beginning of this whole "The More You Know" moment : Nina is the main character of the scene we're watching, until, suddenly, Crowley is. If you separated those two moments before and after the cut and watch them as two different scenes, you can see the camera following Nina and keeping her center before, but directly following Crowley and keeping him center *after* the cut. We've switched narrators in this moment. And to top it all off, they're making it pretty obvious that, while Nina is listening and reacting to both Crowley and Maggie, Crowley does not give a rat's ass about the two humans (not either not really in frame, or cut off behind him).

Maybe obvious, but it just hit me that Aziraphale making Jimbriel cocoa that first time is a test. Before, Gabriel would never "sully the temple of [his] body with gross matter." Now he's delighted! Which helps convince Aziraphale that it's not all some sort of malevolent ruse.

I like this theory. But now we have to revisit the Muriel cuppertea scene. That is clearly not a test. Is he tempting them? Or just training them to blend in?

I mean all of this is potentially there but also he’s polite and offering a guest a cuppa or a cocoa is what you do.

I thought it would be interesting to see if I could easily determine which ships had the most works updated in 2023.

It turned out to be fairly easy, though a little time consuming. I think these results should be reasonably accurate.

Some points to note:

I did this on my own account, and I have like 2 people muted. So I am capturing the effects of archive-locked works, but my numbers might be off by one or two works due to muting.

Works updated in 2023 is a number that constantly changes as works are deleted or updated again in 2024.

I didn't scrape the entire archive or anything like that, so it's possible I missed a ship that would bump one of these down below 100. I'd take the last few at the bottom there with a grain of salt. But I think we can be reasonably sure the top ones are accurate and that the kinds of numbers that we see at the bottom there (eighteen hundred plus works updated in 2023) are about where the cutoff will be even if we find a ship I missed.

--

As for how I did this, I went to the category tags and the rating tags, filtered for updating in 2023, then excluded ships in the sidebar till I got to 130-150 ships excluded. I also grabbed ships that are big in general from tag search, which you can use to find all relationship canonicals, ordered by frequency.

I combined those lists of ships, cleaned off the works numbers, and generated a list without duplicates. That got me three hundred and something (yes, they were mostly duplicates). I generated the relevant AO3 URLs, opened them in batches with Open Multiple URLs, and copied the works totals into a spreadsheet. Not as tidy as using a script but honestly pretty easy if you know a few spreadsheet formulas to clean up data.

The key here is that if you're only going for pretty good and not accurate beyond a shadow of a doubt, all you need to do is generate a list of likely ships, then check them.

It's possible that there's some much-updated ship that is so evenly spread across these various other tags that it just missed showing up in the sidebar. Hopefully, grabbing more than just the top 100 avoided this problem.

This method also doesn't take into account backdated works. If a whole archive was imported in 2023 but all backdated, there could be some ship that didn't have new works but where AO3 users experience in 2023 was of an influx of content.

I also did this just now, in late March/early April, so some 2023 works have inevitably been deleted or updated again. So the exact work counts don't represent the experience of using AO3 throughout 2023. A fandom active in early 2023 might not have much updating in early 2024, while a fandom active in late 2023 would. This could demote the latter a few places in the rankings since I didn't grab numbers on January 1st.

Even if a person scraped AO3 every day or was monkeying around in the databases, you also have to ask what conceptual answer you're after. Is it works a user could have read at some point during 2023, whether they were deleted by the year's end or not? Is it new-to-AO3 works or only newly-created ones, not including imported archives? Does it matter if the works are fic? If they're in English? What about accidental double-uploads or translations of a single work?

I hope this makes it clear why a definitive ranking is not actually possible.

However, despite these drawbacks, I am confident that the rankings above accurately represent the broad trends on AO3 in 2023. Just don't get too fixated on whether a ship should be at number 73 or number 74.

And, of course, I excluded these from the top 100:

Here's a spreadsheet if you want to see the actual numbers not as a shitty screencap. I left the next few below 100 for context.

Doh. First error caught!

There was still a ton of updating because of the live action coming out, but no, it wasn't that high. That's just a copy and paste error.

ETA: Whoa! It's not a copy and paste error. It's a super weird error that occurs when you try to go to the URL, filtered by date, but the canonical tag got changed after you created that URL.

I've updated the original post with these:

American Roadtrip Part 2: Motel Edition! (Part 1)

Sometimes you need to engineer your own fanfic trope. As a treat.

Come Back When You Can Make A Whale

This is going to contain some speculation for S3, so you know what to do! Or not do!

Whales, huh?

If you aren't well read, this could be quite the misdirection. It should be reasonably obvious, given who is doing the talking - Job - what he is actually referring to, then we can join a couple of dots to make some speculative leaps.

You still with me?

No? Then let us start with how do you make a whale?

By giving it another name.

Leviathan.

Chapter 41 of the Book of Job is all about the Leviathan, a great sinuous sea serpent with impenetrable scales and breath like fire. It sleeps beneath the sea until the end of days. Over time it came to be associated with any sea monster, then anything large, and what is the largest animal ever known to have lived? The whale.

The top of the matchbox is also worth a look. We have a skull and crossbones, which is classic Memento mori symbolism, fitting in with the resurrection theme of the Second Coming - but look at the way the address of the pub is spelt! Now, this not the same way it is spelt on the record single Maggie gives to Aziraphale; Goatgate is spelt as one word, not two. A little bit of searching reveals the meaning behind this fictional address that backs up and reinforces the quote on the side of the matchbox.

Strong's Concordance for 66 gives us "wild, savage, fierce." Goatgate is an interesting one, because it turns out to be a relatively modern term from the urban dictionary, and I'm just going to refer to the polite version of it here - it's another word for "mouth." So 66 Goatgate is a "fierce and savage mouth." Yes, that does sound about right - in more ways than one, once you know who it is. (If you want to look up the impolite version, go ahead - I'm sure you will still find the connotations very amusing.)

Our metaphorical Leviathan is Crowley. He gave the game away at the end of S1 during the appearance-swap.

This also means Aziraphale is his counterpart, Behemoth. Why - well, I made a bit of joke in my post here that he was playing at being a "river horse" while he wallowed in the bath of holy water during his part of the appearance-swap scene. Modern day scholars think the description of Behemoth in the Bible may be that of a hippopotamus in real life history. If that is so, I'd still be betting this is what the "dark horse" comment from Nina in S2E1 is foreshadowing.

Maybe none of this new to you if you've been hanging around the the fandom for a while. That's fine, I'm just trying to establish the scene. And the next bit we need to talk about is this one, where Job gets a lecture from God.

During this sequence, we hear lines that come from Job 38 and 39.

These lines are paraphrasing some of the beginning of Job 38.

Then we have:

These lines are again, paraphrasing Job, half from 38 and half from 39.

So then, we need to ask, why highlight these lines in particular?

Job 38 is mainly about setting the boundaries of the universe around us. The Earth might seem impossibly huge to a human, but it started with a single stone at its foundation. Earth and the other planets obey certain laws as they move around the Sun. The patterns of the stars in the sky take so long to change that it seems like they are set and inconstant. Even the chaotic form of lightning respects its Creator and returns to its point of origin.

From the last part of Chapter 38 to the end of 39 God challenges Job with a list of animals. The theme here is about freedom and wildness. Whether it is a noble lion, a loathsome crow, a nimble mountain goat, the head-strong wild ox or the willing war horse, they all flourish upon the Earth under the sight of the Almighty. Even the mightiest and most fierce beasts of all, Behemoth and Leviathan, have a place, although only God has the means to control those two.

None of this needs a human to be involved. We are so often the center of our own universe, and try so hard to control every aspect of the world around us that we lose sight of the bigger picture. Shit happens. Some things are out of our control. That doesn't mean its your fault and you're wicked and damned to go to Hell because of it. And that was the point God was trying to make to Job. The world is a far bigger, wilder and chaotic than you can imagine, but its also incredibly beautiful, and it runs itself within the rules and limits that seem to be set by invisible forces you can't see.

So back to the script from the show.

The first set of questions from God could apply to both of the duo. They were both around when Earth was created and were more than likely there when the "morning stars" (the highest angels, such as Lucifer, Gabriel, Michael and angel!Beelzebub) sang together.

The second set of questions are the ones that seem to have got the most attention so far, with ops cross-matching them to things Crowley does in S2.

Do you know the rules of the heavens?

Did you set the constellations in the sky?

Can you send lightning bolts and get them to report back to you?

Did you give wings to peacocks, Job...

(I make a suggestion this has something to do with Michael, but also see comments below)

...or teach the ostrich to run?

The first three of those questions are fairly straight forward, and I doubt many would dispute what they are referring to. But the reference to the peacock and the ostrich are more subtle and curious, and I would like to take a moment to look at the actual verse - because it is only one verse that is providing both questions - that is being paraphrased here.

Did you realize that the King James Version of the Bible is the only one that mentions peacocks in this particular verse? All the other versions mentions the first sentence of that verse in relation to the wings of ostriches: "The wings of the ostrich wave proudly." The ostrich is considered a cruel and witless bird in the Bible, pleased with the way it looks, and seemingly careless about its young.

Why does that sound familiar...

Shax thinks this ostrich feather-clad angel in disguise isn't too smart either.

So using the peacock line is a curious choice in the script. Other than the "eyes" in the tail of the peacock having a connection to Michael's many watchful eyes on the world, it's still not clear how Crowley helped them upwards. Unless both lines are supposed to refer to Gabriel, and how the vain peacock was helped to both fly and run to a distant location in the stars.

(Oh - just as an interesting connection here - a number of the newer versions of the Bible not only don't mention the peacock in this verse, they compare the ostrich to the stork! The meaning is meant to be that the stork cares more for their young than the ostrich, but if you read the words at face value, you could take a double meaning away...)

Let us return to questions, answers, and whales.

Questions. Always questions. It's like the proverbial toddler who's always asking a never-ending string of "but, why?" for funsies and you just want them to shut up for a moment and think about the last thing you said first. They, too, are a bit like Job. They are the center of their own universe at that age, having not had much experience of the world. They have no grasp of how far it extends beyond them, and how little even we as adults know.

If at this point you're going "oh, no, no, no, no, op, please don't tell me the point of this meta is it's all ineffable," relax. I'm not.

The point was to set you up for some nice, juicy, awesomely sweet S3 speculation.

Because I believe Crowley will finally get to ask his questions of God.

(oh lordy, I made the mistake of taking a break to have a shower before trying to finish this off, because I was having trouble seeing how to finish this in a tidy way, and that caused me to have "shower thoughts" and now the nice sweet simple speculation has turned into a slightly bat-shit crazy kind-of one, although still on the same track as what I was originally thinking. Here goes...)

We have this three card spread from waaay back at the beginning of S1. We all think its something to do with the three babies.

What if its not?

Because we need something like this to happen again - Aziraphale and Crowley either side of a third protagonist. What if it's the King of Kings, Love personified, Jesus, in the middle? (Or Adam again, I wouldn't discount that option either...)

If you would look at the GIF and the screenshot together again and go, well that makes, sense, white for the angel on the right, and green for the demon on the left, I would jump up and shout at you - NO!

Look at the cards again! In the Tarot, that's the Ace of Swords on the right - it belongs to Aziraphale. It's a very powerful card, about new beginnings and change.* Lets call the one of the left Knight of Wands, which also represents the element of Fire. Knights are all about movement and journeys. Who owns the Bentley? And look what Gabriel has instinctively done with his hands - he has held his screen-left hand out to Aziraphale, the Sword, the angel who wears green, and his right hand out to Crowley, the Knight of Fire. The yin and yang qualities are actually swapped. That was what I was trying to tell you in this post. They aren't as obvious as they seem at first glance.

And love is the answer, it turns out. Did you see my comment the other day on another post? In Strong's Concordance 25 = to love.

Anyway, we should get a third parallel scene somewhat like this, and like when Aziraphale and Crowley took Adam out of time to talk to him in S1.

Only this time the three of them (with who ever is in the middle) should be having a talk with God about what is or isn't supposed to happen.

Crowley could be a literal serpent (though I would be very surprised if he did manifest that way) but it should be a metaphorical Leviathan that stands before the Almighty to ask his questions and get his answers. And it will be that he has earned the right to be there, because he finally understands the lessons of Job.

@makewayforbigcrossducks I hope this answers one of your questions

*The Ace of Swords speaks of new beginnings, but it is a two-edged sword that can cut both ways. It is strength in adversity, victory out of struggle, good out of evil, a change in the old order on the way.

sorry back here again with a season one connection maybe?

most of the nuns walk around wearing this symbol

which (minus the clock) is called the Levitation Cross - and is the symbol for sulfer

I think your autocorrect attacked your post Bee - I had to go check the symbol and found it was called the Leviathan Cross.

What a loaded symbol!

There are more leviathan connections in S1 but they are bit more subtle. I'm waiting for Vidavalor to finish her fish meta.

I keep meaning to come back an update the peacock section here, because I do have some more information on it that actually fits Gabriel better.

Reblogging with an update to the peacock section, finally!

Edit: Since I first wrote this, @beebopboom pointed me to some more peacock lore, and this helped me delve a bit deeper into them. Peacocks were associated with wealth and royalty, but they were also associated with immortality in early Christian beliefs. There was a belief that the flesh of the peacock did not decay after its death. The bright colours in its tail came from its eating venomous snakes, which reminded people of Christ becoming sin for humanity's sake (think of Crowley downing the laudanum to save Elspeth from Hell in the crypt in 1827, its a similar action.) The "eyes" on the males tail also represented the all-seeing eye of God. So we have a connection with both royalty and resurrection here.

[Good Omens]

I need them to kiss again.

Remember, kids, every time you try to choose "sides" between Crowley and Aziraphale, the Metatron wins!

this perspective is so funny to me because it's literally so accurate.

like, the metatron is trying to drive a wedge between our boys. he's trying to make them fall apart, because he knows that together they're unstoppable; there's no way on heaven OR hell that he didn't see their "tiny" joint miracle. he knows what they're capable of together.

choosing sides like one of them is "wrong" and one of them is "right" is exactly the rift he's trying to create. neil would be disappointed, if he were a real person with social media.

This is so perfect!!!

Something we didn't notice (part 2)

part 1

Overall, the meta is based on close observation of Aziraphale (for the most part) and Crowley. Without speculation or trying to guess what we haven't been shown (well, almost).

The Metatron makes it clear that he is watching Aziraphale delivering the "good news". Aziraphale looks back at him.

The first thing I'd like to explain. The Metatron is talking to Muriel, and then he stares at the window of the bookshop duplicating that gaze toward Crowley. The frame changes and we see Aziraphale looking out the same window, just for a second, but he will do it repeatedly.

As Crowley starts his monologue, Aziraphale tries to stop him by gesturing for him not to say too much, while looking out the window himself. Aziraphale continues to turn to the window with every meaningful attempt to speak.

Let's also note that Aziraphale doesn't usually behave in a similar way in conversations with Crowley. Yes, Aziraphale is characterised by active gesticulation, but the constant pauses, averting his eyes from the interlocutor, nervous and jerky movements - these are messengers that angel is holding something back, hiding or simply doesn't want to tell. Most often we see this Aziraphale in conversations with the leadership - God and Archangels.

https://commonmexicanname.tumblr.com/post/734305363759890432/good-omens-thoughts

Here's a prime example, comparing his interaction with Archangels when he's caught off guard and frantically trying to figure out how to get out of the situation.

I don't think Aziraphale is just lying to Crowley here, no. He just has an audience beyond Crowley. He tries to tell everything, knowing he has more than one viewer.

When Aziraphale mentions the Metatron, he is not just hinting, he points his index fingers - one at the window, another at Heaven, and then in a distinctly active quick motion once more at the WINDOW.

And again - turns his face to the window at the words about Gabriel failing, and then tilts his head towards the transparent panes of the bookshop.

The conversation with the Metatron is important, among other things, to assess Aziraphale's behaviour when Crowley is mentioned by his superiors. At the words about their partnership Aziraphale looks frightened: his facial muscles are tense, his forehead and eyebrows are furrowed, and there is a terror in his eyes.

When the God's spokesman concludes his really suspicious speech, Aziraphale swallows nervously and averts his eyes. He certainly doesn't look like someone who's been offered the fulfilment of his cherished dream. And not like someone who believes it.

Aziraphale looks like someone who has just found out what an enormous amount of incriminating information is in his opponent's possession.

"Tell me you said no. Tell me you said NO." Crowley is definitely shocked and horrified, he thinks the best of his angel. He can't believe what's going on (and he isn't supposed to).

Aziraphale turns his head towards the window again as an answer.

He actually said:

And

We see him right before he walks into the bookshop, he never says yes to the Metatron.

Aziraphale utters his most delusional words while looking out the window. Of course, they're not meant for Crowley. Aziraphale hasn't believed it for a long time, Crowley even more so.

And then Crowley says "Oh, God", without correcting himself afterwards, because this demon can only hope in God here.

For a second Aziraphale has a look of hope on his face that Crowley has realised what he's getting at. Then Aziraphale realises that Crowley is trying to confess. He's waited for so long not to realise. He was about to confess too.

Aziraphale already knows everything Crowley is about to tell him, but more importantly, literally everyone already knows it. It's impossible to stay and start pretending again that there's nothing between them.

Aziraphale has a completely blank stare past Crowley, and then he looks out the window. Again.

And then the most interesting thing happens. Crowley starts his line "And I would like to spend…" But he turns his head and finally looks out the window, where Aziraphale has been pointing so hard since the beginning of their conversation.

Maybe that's the reason Crowley doesn't complete the sentence. And he begins to pick up different words. Maybe not, maybe the sun from the outside is preventing him from seeing the Metatron.

In the final part of their conversation, when they move closer to the bookshop's door, Aziraphale looks towards the window again.

After "no nightingales" line he turns away to hide his feelings and pain.

The cherry on the cake is the kiss, Aziraphale is falling into the abyss. He averts his eyes trying to figure out if the Metatron could have seen what just happened.

When Crowley leaves, Aziraphale thinks he's lost him. But then, even when the Metatron walks in and says devaluing words about Crowley, Aziraphale can't tear himself away from the window, because now he can see Crowley there. Maybe not everything is lost.

Aziraphale retreats back to the clock - to the very spot where Crowley was standing a few minutes ago. He looks out the window at Crowley, as if to say, "I stand where you stood, you stand where the Metatron stood."

FINALLY, SOME DUCKING GOOD META

Thank you op, for doing the Lord's work and actually rewatching the Final Fifteen in its entirety to inform your meta. It's fucking fantastic. A+

Excellent. That’s the best break down yet of a case for Aziraphale trying to convey something to Crowley and Crowley actually understanding. Noticing that look out the window is so important.

Crowley & Aziraphale + some of my favorite quotes from the book

(Yes I know some of these are not the scenes they're supposed to go with but they just. Felt fitting to me.)

From the Neil Gaiman: Dream Dangerously :) (you can watch it here in US or with US vpn :) <;3) (or just this bit on youtube here :))

Terry Pratchett: One day he rang me up and said, "I've started a book and, I think it's good, but I haven't the faintest idea where it goes." So, I said, "All right, well, send me the pages." And I read it and wrote him back and said, "I don't know where it goes either, but I do know what happens next."

Neil Gaiman: I was pretty much nocturnal then, so I would write my chunk of Good Omens before I went to bed, and I'd go to sleep about five o'clock in the morning and I'd get up about one o'clock in the afternoon and my answering machine would be flashing on, and I'd press the button and a voice would say, "Get up, get up you lazy bastard, I've just written a good bit."

Terry Pratchett: We did it as a kind of holiday, because if it crashed and burned, nobody would notice.

From the Neil Gaiman: Dream Dangerously :) (you can watch it here in US or with US vpn :) <;3) (or just this bit on youtube here :))

Neil Gaiman: I miss him most when I get stuck. You know, I'll just be working on something and I'll go, "Oh, this isn't quite it," and all I want to do is just call Terry, tell him what's going on and have him say, "Ah, grasshopper, the answer is there in the question." And I'd go, "Oh, for fuck's sake, Terry, just tell me."

[Terry Pratchett laughing]

silly headcanon time

Maggie actually texted her message to Aziraphale but because he doesn’t have a modern phone it arrived through the mail slot

Oh and that explains the spelling mistake. Huh.

David Tennant and Michael Sheen at the BAFTA 2020 presenting the award for Best Mini Serie. They did it Staged style 😍

One day, when I'm dead, someone at the Gates will ask me if I did anything to qualify for admission to Writers' Heaven. And then I'll list all the books I wrote, and all the good deeds I tried to do, and the worthwhile causes I supported, and they will just stare at me, unsmiling and unimpressed. And finally, in desperation I'll say "Well, I was the first one to put David Tennant and Michael Sheen together..." And the unimpressed expression will become a huge and delighted smile. "You did that?" they will say. "God LOVES them!"

They probably still won't let me in to Writers' Heaven, but I will take that one thing with me as my fragment of Grace, as I trudge down the stairs to Writers' Hell.

Like that I guess ?

Perfection! :D

Aziraphale is handling his role as archangel just fine.

I've joked outrageously in the past about being a Metatron stan, but in total and complete honesty, I would fucking kill for a twist where his shady ulterior motive is that he is a double agent working against actual big bad, God. Let it be true that he is lying about carrying out Her word, but let it be because he's in an impossible situation trying to hold back the destructive force of an omnipotent tyrant. Let him be recruiting Aziraphale as the first angel to openly defy the Almighty and get away with it, and let him be driving a wedge between Crowley and Aziraphale to protect them both against whatever is to come. The ending of season two cast him as the perfect, hateable villain, and nothing would delight me more than everything I thought I knew about him turning entirely on its head.

Oh, I'm all for it. There's a lot about it that I don't like it but I certainly like it LOTS more than a version of events where it all turns out to be God's ineffable plan.

Oh I like this!! That would be very, very interesting indeed.

Sometimes I think about the Job minisode and how it implies that Aziraphale has more faith in Crowley than in Her.

Because after Aziraphale discovers Crowley didn't kill the goats he practically dares him to smite the children. He bets their lives on Crowley being Good. Aziraphale doesn't play chicken, he's too cautious to do that.

He trusts Crowley's plan more than he does The Great Plan. (Or at least heaven's definition of it)

When Aziraphale lies and swears on his word as an angel, he already accepted that he would Fall to protect these children. His love for humanity is almost blasphemous, and so is his faith in Crowley