This title is probably irrelevant

I’ve only ever been in the ‘Lock’ bit of Superwholock so I can’t say exactly what percentage of that fandom discovered Good Omens, but one thing I know for certain.

Good Omens: *is a huge success*

Every Single Discworld Fan: Oh? Oh worm?

Transcript under cut

GOOD OMENS MUSICAL TRAILER

BONUS:

So in The Truth, William de Worde is this cool protagonist guy, writing all the news, kickstarting the newspaper industry, exposing sinister plots, meeting new friends and loved ones.

But then, when he shows up again in another book as a cameo, Pratchett does something kind of neat that I feel like I don’t see very often. The protagonists of that book (I forget which it was - maybe Monstrous Regiment or Making Money?) see him and describe him as a silly, stuffy, self-important kind of man.

Granted, Discworld’s ability to do something like this has to do with its structure and how it tells a lot of different stories with a lot of different viewpoint characters. But I’d like to see this done more often because at times it’s really meant a lot to me.

Made fun of the “unnecessarily naked/scantily clad woman,” “sacrificial virgin,” and “sexy heroine” tropes in his first two novels.  The first was described as being the most powerful of her clan of dragon-riders and the nakedness was properly treated as unnecessary in a clear parody.  The second turned out to be one of the more level-headed (while not well-educated) members of the party after her initial introduction, and also had a spine and knew (and got) what she wanted.  The third was described as wearing sensible clothes, was pretty but not sexualized at all, and was practical and smart.

Wrote an entire novel to critique the unequal treatment of “men’s magic” versus “women’s magic” in the fantasy genre.  Portrayed witches as just as if not more capable than wizards (when it comes to actually helping people, in particular), and also generally having more common sense than them.  Nevertheless created a little girl character with wizard powers, and had her decide neither wizard nor witch magic was sufficient and develop a new kind of magic all her own.

Included sex workers in his worldbuilding.  Made jokes about them the same way he did every other kind of person of any profession, but was also highly respectful and never critical of these jobs.  Described the head of the ‘Seamstresses’ Guild as one of the most influential people in the biggest city in the world.  Never showed or described in detail any sexual violence, including against these workers.  In fact, made sure to say that anyone in the city who harmed a sex worker would be dealt with painfully, embarrassingly, and/or lethally by two fearsome elderly ladies.  Even his more ditzy stripper character quickly smartened up and learned some true self-respect–not by quitting her job but by realizing she didn’t have to take any shit from men.

Included strong female friendships aplenty.  Included female enemies who were enemies over things other than men.  In general constantly passed the Bechdel Test and not only that, left it in the dust and had way more meaningful and realistic representation.

Five words: Dwarf Women Are All Trans.  More words: And there’s no way to know if some of them were trans in the way we Earth humans would understand it, too, and he clearly didn’t think that sort of genitalia-based gender labeling mattered.  Did not turn his trans dwarfs into a joke, but treated them simply as people–including a scientist/forensics officer in a police department, a prominent fashion designer, and the literal King of all dwarfs (who subsequently came out as Queen).  Portrayed transmisogynists as unequivocally wrong, and had protagonist characters stand up for and protect their trans colleagues and friends.  See also: had genderfluid characters in two of his books and at least one trans man, as well as confirming canonically that there are gay wizards, one of whom is really good at football.

One of his mainest of main characters was a blunt, bad-tempered, prideful old woman who is also good to her core.  Didn’t gloss over her unfriendliness or excuse it, but made her complex and interesting and overall likeable despite all that.  Also had a very amiable old lady character who also had a temper and would throw hands with anyone who’d mess with her family or best friend.  In general, steel-souled old ladies, wow.  Also steel-souled young girls.  

Said he was incapable of writing a weak, wilting female character, and honestly I can’t think of a single one in any of his books.

Who remembers the story about how Death helped save Christmas with the aid of his granddaughter?

Just the kind of thing to come from the imagination of the late great Terry Pratchett and his Discworld book: Hogfather!

NO. Death stood up. THIS IS HOW IT SHOULDN’T GO.

My evidence: 

Ned is the only other Watchman who is new to the squad, and new to Ankh-Morpork.

He is supposedly the only person who knew the real John Keel, but he never calls Sam out for it. If there ever was a real Ned Coates, and he really knew John Keel, we only have Ned’s word for it.

When he and Sam spar, he fights just as dirty as Sam does, and claims John Keel taught him the tricks Sam uses himself. 

He’s protective of Vimesy, moreso than other Watchmen though he’s known them all for the same length of time.

He is clearly up to SOMETHING; Sam thinks he’s one of the real revolutionaries plotting to overthrow Winder, but none of the other revolutionaries interact with him or seem to know him that I can recall.

When Sam admits he’s a time traveler, he’s unfazed; his question “From how far back?” would make perfect sense as “from how far back in my timeline, where you are my dad?”

He supposedly dies in the last fight, but Sam doesn’t see it, and Sam supposedly died in that fight too.

Lu-Tze is 100% good enough to have two time-travelers operating at the same time without breaking the timeline; he does, however, worry about the unusual strain he’s creating.

So, let’s say an adult Young Sam has a time-travel accident. Possibly after some sort of major falling-out with his dad, one that’s got him still pissed off at him. And now he’s stuck in a vastly more shitty version of the city he grew up in, and the versions of his dad he has met so far are a) a dumb kid and b) kind of a dick. He is not having a great time. He really, really wants to go home, but first he has a revolution to see through.