If You are sensible, move along and above all have a good day, otherwise you can read that.
Neil Gaiman gradually projected himself onto Crowley until he turned him into a pure self-insert.
The most glaring sign of this personal appropriation remains the inclusion of the "apology dance," a ritual drawn directly from his private life with his ex-wife Amanda Palmer. This blurred line between the author's intimate life and the fiction confirms that he identifies with the character and seeks to glorify him.
The glorification goes hand in hand with a massive flattening of Crowley's character between season 1 and season 2. In the first season, faithful to the spirit of the book, Crowley possessed genuine demonic ambiguity: while he was certainly attached to Earth and Aziraphale, he retained a cynical, cunning, and mocking edge, capable of small authentic acts of cruelty, like when he handed out guns to humans. He alternated between moments of calm, tenderness, and malice.
In season 2, he becomes a fake villain: he is shown as constantly agitated and angry to give the illusion of an extreme personality, but he no longer has any real malice and his actions are 100% heroic.
This pattern is particularly visible in the flashbacks to Job, Edinburgh, and 1941, which all follow the same repetitive mechanics. Aziraphale wants to adhere to heavenly morality and finds himself facing a moral dilemma, Crowley steps in to save the situation all on his own, and Aziraphale learns that there are shades of gray and that Crowley is right. Crowley serves as an absolute moral compass at the expense of his own complexity.
At the same time, Aziraphale's character is heavily degraded to make Crowley shine by contrast. Where season 1 balanced his flaws of pride, hedonism, and selfishness with sincere goodness of soul and a genuine desire to help people, season 2 offers nothing more than smoke and mirrors. His kindness becomes superficial, and his flaws are exaggerated to serve as a foil to Crowley's alleged moral superiority. Ultimately, by turning Crowley into the ultimate savior and the decision-maker for the world, the series abandons the very essence of *Good Omens*: the fundamental idea that the world belongs to humans, and that no one else should make choices on their behalf.
Furthermore, in Good Omens 3, the idea of repeating that Crowley was "the best of the angels" makes no sense within the original canon, where angels have always been depicted as bureaucratic beings, blinded by their duties and capable of doing harm under the guise of doing good.
The climax of the Gaiman's logic and auto projections on the character of Crowley appears in "season 3".Crowley is positioned to decide the fate of the entire universe instead of God and humanity. In Good Omens 3, Crowley becomes God.Metaphorically, Neil Gaiman becomes God in his own story, completely distorting the original message about the Ineffable and humanity's free will.
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