Nope. Nope - even if I laughed at moments, and found the ending scene sweet, because how could David and Michael not be? I enjoy an AU as much as anybody, but if anyone deserves their love confession, their kiss, their happy ever after, it’s the canon characters who've been through so much together, not a pair of stand-ins.
I know the line forms to the left. Here we go anyway.
What I got from the original book – and specifically the parts that Pratchett obviously put into it, the underlying theme, the humane perspective – is that the world’s not saved by grand heroics, by the procurement of a McGuffin like the Book of Life or the killing of an Antichrist. It’s saved, little piece by little piece, through the compounding effect of small, good things, of kindnesses performed by imperfect beings and the love of random beauty and the cherishing of the day-to-day. Aziraphale and Crowley thwart the Apocalypse not because they feel the call to be heroes, but because they’ve gotten used to humanity with all its flaws; because they love a bookshop and a car and gravlax and bebop and little restaurants where they know your name. The things that multiply and intertwine in our lives, that hold us and our world together the way roots fix the soil. The shared meals and the do-you-remembers, the problems muddled through, the arguments made up; the love of a child for his home and his friends, for a familiar wood and apples stolen from a neighbor’s tree. How does it save the world if you destroy the world?
(I’m old; I was born in the Fifities, and oh, I remember the heavy irony of “we had to destroy the village In order to save it.” But that’s just what this story did.)
Saying “this is all broken and wrong, and the only thing to do is wipe it all out and start over from the beginning”: that’s been the recipe for some of the worst horrors of the world. That was the entire fucking message of the original book. The world is flawed, the systems we live under imperfect and even cruel in their origins, but it can be healed, bit by bit, if you love enough – even if you love in seemingly trivial ways. Good Omens is about mending – mending the consequences of folly, mending friendships, mending the damage people inflict on one another, like an angel mending the spine of a beloved old book. Mending the error in the assumption that sides mean more than individuals, leaving two beings like Aziraphale and Crowley free to treasure all the small things about each other, as friends or lovers or however you choose to see them. The meet-cute of their human counterparts in the remade, blind-watchmaker universe is, well, cute, but it doesn't reward the characters we came to love, who evolved along with humanity, became who they are by outgrowing the artificial opposition imposed on them, and bonded through rising above it. (And neither couple ever gets a tender kiss to cancel out the angry one that left us all ravaged in 2023; more articulate voices than mine have gone to town on the way that narrative choice dilutes the queer representation that stunned us with its promise in the original TV adaptation).
So I see the whole progress of the sequel series as misbegotten – most likely, for all the usual reasons of cupidity and vanity – leaving us with a couple of pieces of tone-deaf fan fiction that literally lost the plot. Good moments here and there, clever bits of banter and comic turns; two lead actors with dazzling chemistry that most of us would pay to hear read the phone book for ninety minutes; but all in all a disjointed story compounded of fan tropes, that did not seem to love its characters or have a point beyond churning them around for ninety minutes.
Where in this story are characters comparable to everybody that made the original so rich and endearing to begin with? The bumbling, sincere romances (Anathema and Newt, Tracy and Shadwell, even the wholesome marital bond of Lesley and Maud)? The tweenage energy and candor provided by the Them? Eleven-year-old Adam Young faced a choice and protected the world because its simple joys were enough for him; twinky Jesus Mark II goes down an elevator and survives just long enough to learn a card trick, distribute pizza, and be disintegrated without addressing any of the events unfolding around him. And where the entire hell is Agnes Nutter, and her tart wisdom?
(....Remember Agnes? Are we to accept that she wrote two books of prophecy, guiding the angel and demon who were fated to thwart Armageddon – and that her descendant burnt the second, in order to start her new life without a roadmap – only for everything to go up a few years later, not in a ball of flaming goo, but in a corny Avengers Endgame series of sfx dust devils? This story seems to be happening in an entirely different universe to the one that was built between book covers or the opening and closing credits of Season One, and it's not because God rebooted it.)
I'll leave you with a bit of shameless self-promo: an imagining of Agnes’ take on the sequels, and a version of what Aziraphale and Crowley themselves might have thought of the narrative malfeasance, as I view it, of season 2 (both written before any of the uglier reports about NG surfaced). I don't know if this was a case of an author deliberately jerking around his fandom, a case of "too many cooks spoil the broth" when the project had to be retooled for a briefer air time, or just lazy reliance on a wealth of incident and fan service as a substitute for a story worth telling. All I'm sure of is that we, as fan creators, should feel completely free to ignore anything that violates the promise, the message, and the perspective of the story we fell in love with. To mend what went wrong, piece by piece.
