In the Good Omens finale, the end of the world is a lot less interesting than what comes next
TV Reviews Good Omens
If there’s one moment in the novel Good Omens that most closely resembles co-author Terry Pratchett’s solo work—other than all those footnotes, anyway—it’s the bit in the big climax, when Aziraphale and Crowley realize that Adam Young’s unintentionally orthodox upbringing has transformed him, not into the epitome of good, or the epitome of evil, but into the epitome of people. It’s a very Pratchett idea (as is all the stuff with Dog that foreshadows it, and the way a hellish nature can’t stand up against a bit of Earthly nurture), and it’s rather lovely to see that moment be given some space here, in the final episode of the book’s three-decades-delayed TV adaptation. Pratchett liked people, for all the stupid, ugly chaos they could cause, and it’s in liking people that Adam Young finds the strength to save the world.
All of which is quite lovely to say. But it also demands a question: Does any of this feel-good philosophizing make for effective TV? The first half of “The Very Last Day Of The Rest Of Their Lives” unfortunately argues that it pretty much doesn’t, offering up a series of showdowns that mostly boil down to people staring meaningfully at each other until a bad guy suddenly explodes. There are moments of grace—as when Adam’s two celestial “godfathers” stop time to give him a brief pep talk before facing down Satan himself, or when the would-be Antichrist calmly stares down Beelzebub and Gabriel (Anna Maxwell Martin and Jon Hamm, the latter of whom is transcendent in this episode) as they try to bluster him into ending the world. But the Four Horseman, especially, go out as they lived, ostensibly good ideas that just didn’t work as TV.
Even the confrontation with The Big Man himself—voiced for two whole lines by Benedict Cumberbatch, and powered by CGI that did not, for once, look like absolute dogshit—is an anti-climax, pretty much by design. Adam thrice denies him, and there you go: Lord of the Pit defeated, final boss fight complete. Thematically, it makes sense. Practically, it’s just a teensy bit dull, no matter how many CGI rocks get tossed around in the process.
It’s lucky, then, that author and screenwriter Neil Gaiman clearly grasps that the end of the world is the least interesting part of this apocalyptic finale, which is why his script spends so much time on the question of what comes after, instead. (Or, to put it in the words of Agnes Nutter, witch: “Ye saga continuef.”) Mostly, this plays out in a series of happy endings, largely romantic, for our various heroes, with Newt and Anathema rejecting the chance to know any more about their future, and Shadwell and Tracy having a frank discussion about nipples. (Even knowing it’s coming, watching Michael McKean awkwardly work himself up to “popping the question” is a thing of great delight.) Everyone gets a moment to shine, from Newt finally getting to explain his terrible Dick Turpin joke—complete with a brief explainer for American viewers—to Miranda Richardson’s quietly confident “former Jezebel” when inviting Shadwell to share a bungalow (and a life).
But we end, of course, with the three characters we started this whole cosmically incompetent mess with: The renegade angel Aziraphale, the rogue demon Crowley, and that infernal little bundle of joy, Adam Young. For Adam, it’s brightly bittersweet; having chosen to be human, he now gets to, well, be human (mostly), complete with all the attendant consequences—like being grounded to the garden by his bewildered parents while the circus comes to town. And even though the “idyllic boyhood in pastoral England” parts of this show never really felt of a piece with the rest of its more cynical intentions, the last we see of Adam can’t help but pluck the heartstrings. Certainly, Frances McDormand redeems a great deal of this show’s frequently over-burdened narration with her read on the line about how “There never was an apple that wasn’t worth the trouble you got into for eating it.”
As for A & C, they get their (temporarily) happy ending, too, after executing a body-swapping gambit to get their respective former masters off their backs. (Given how clearly Agnes’ last prophecy telegraphs the switch, it’s hard not to wish we’d gotten more of David Tennant and Michael Sheen more blatantly imitating each other, but we’ll take what we can get.) It’s all a little silly, but we do get two exceptionally satisfying payoffs from it, so it’s hard to be too grouchy. The first is the final flex from Hamm as an incredibly pissy Gabriel, the only performance that really gives Sheen or Tennant a run for the series’ MVP. And the other is our final shot of Crowley and Aziraphale together: Dining at the Ritz, speculating that they might actually have done the Almighty’s true will after all, and toasting to their shared love: “To the world. “To the world.”
A good ending—and you could comfortably argue that this is a very good ending, emotionally satisfying without being too terribly cloying—can go a long way toward salvaging a troubled show. Good Omens was a frequently troubled show, often feeling like a collage of the book’s best bits, randomly assembled into some semblance of a story more-or-less at random. Gaiman seemed to gain more confidence in the material, and the strengths of the medium, as the series went on, though, relying less on his and Pratchett’s narration, and inserting more stylistic flourishes like the Aziraphale-Crowley friendship sequence that powered episode 3. The series was always messy, but in its best moments, it was gloriously messy, jumping between eras, following weird rabbit holes, and falling back (quite rightly) time and again on the charisma of Michael Sheen and David Tennant to keep the audience involved. It was far from perfect, but still, a world worth toasting, in the end.
Stray observations
- Of the bits not plucked from the book for this episode, I found myself most missing the digression about how thoroughly Agnes’ book (and its unerringly accurate prophecies) screwed her publishers, as well as the long history of prophetic blackmail she employed to keep the box safe and unopened.
- Pepper’s one-liner to War—“I believe in peace, bitch!”—provoked a viscerally unpleasant reaction in me.
- I cannot emphasize this enough: Jon Hamm’s Gabriel is one of the funniest things he’s ever done, from Crowley shooting down his smug “God does not play games with the universe” to the one-two pettiness punch of “I’m the archangel fucking Gabriel” and “Shut your stupid mouth and die already” during “Aziraphale’s” trial.
- “Just imagine how awful it might have been if we’d been at all competent.”—Aziraphale, summing up the entire show.
- Ineffable count: 6! It’s almost like God really does move in mysterious ways.
- And we end on a literally lovely note, as Gaiman’s old pal Tori Amos sings “A Nightingale Sang In Berkeley Square.” Thanks for taking the trip with me, folks. We ended up heading down a lot of weird little alleyways, but the journey still felt worth it, all the same.
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Pepper’s one-liner to War—“I believe in peace, bitch!”—provoked a viscerally unpleasant reaction in me.
That was, for those who are unaware, a shout out to one of Gaiman’s best friends Tori Amos (who also sings the song that plays over the ending credits.) It comes from a song called “The Waitress” from Under the Pink
Ahhhhh, that makes much more sense. (Especially since it’s not hard to imagine Pepper’s former hippie mom as a Tori Amos fan.)
I was just about to post the same thing. Not that it wasn’t still an odd choice.
Yeah, it’s a bit self indulgent on his part and it’s certainly a jarring line if you don’t know the context but I see it as a bit of an easter egg for Gaiman fans.
I thought the “self-indulgent” part was having the gate guard reading one of his (Gaiman’s) books
As a huge Tori fan, I loved that Pepper quoted one of my favorite songs.
Don’t care if it was a shout out to the Pope, it’s out of place in this scene.
I was going to post the same thing. Glad I read the comments before looking silly.
I loved the series without all the well-it-had-its-problems equivocation. This series was not really about Armageddon or the Anti-Christ. There is a reason the final showdown was anti-climatic and the Adam was underdeveloped. The show wasn’t really about that. Those elements were just the backdrop for a really sweet and satisfying love story.
It was a very shaggy narrative, but that’s what the story has always been. It was clearly written by two authors who were still in the embryonic stage of finding their true authorial voices, and mostly just make their friend laugh. I wish they had been able to get their follow-up collaboration, the long rumored 668: The Neighbour Of The Beast before the embuggerence claimed Sir Pterry.The show suffered slightly from the Netflix Marvel problem in that it could cut an episode and aid the pacing immensely.Also, I know Gaiman’s written for TV before, but he’s not a TV writer, he’s fantastic in comics and novels, but they don’t always translate.That all said, I enjoyed the hell out of the show, and my biggest complaint was that the last card of the final closing credits “For Terry” didn’t get a slightly longer bit of screen time.
Honestly I felt like 6 episodes was perfect. I was shocked when the final confrontation ended with 30 minutes to go in the episode and felt like the epilogue was friggin great.
Actually, I think it needed another episode, not fewer. Cutting much of the Four Horsemen hurt. Much of the book’s humor came from them and the antics in the diner and on the freeway. Putting that back in would have fixed the pacing and the gaps in the story. Still, I am not complaining. I loved what they ended up with.
They were cut for budget, apparently. Personally I think the flashback segment could have been omitted to make way for Really Cool People et al.
This was Prachett’s 15th novel, published 19 years after his first.
Exactly. For a story about friendship, love, free will and what it means to be human, I thought it was perfect.
Just finished it and I have to agree. I enjoyed it unreservedly; I just enjoyed the Sheen/Tennant bits more and enjoyed that their relationship was the centerpiece of the story. And perhaps it’s because it’s been such a long time since I read the book that I might as well have been coming to it cold, but I thought the “you’re not my dad” bit was quite well done. The kids all did a good job and I didn’t find them annoying as I often do with child actors.
Yup. I kind of think the point of this is just to have a lot of fun characters running around doing amusing “stuff.” In the end it’s kinda of like oh let’s say it’s sort of like some … “creator” or two… is shuffling things they made around to pass the time and see where they all fall at the end and if people enjoy themselves well all the better for it.
In the end, Good Omens boiled down to what it always has been, a fine piece of Crowley/Aziraphale slash fiction.
“Don’t talk to me about the greater good. I’m the Archangel fucking Gabriel.”“Shut your stupid mouth and die already.”Yep, Jon Hamm really was the third MVP of the show, wasn’t he? I just want an entire show of him trying to pretend to be human and also cursing.
And trying to buy pornography
And jogging (in sweatpants!) without being even one little bit out of breath.
I always felt like whoever did the screen play was a Simpsons fan..
Hamm is giving Gary Cole in Office Space some competition for world’s worst middle manager.
Jon Hamm steals everything he is in. He could have been the next big thing if he really wanted after Mad Men, but seems to prefer stuff like this.
Honestly, the stuff Hamm’s doing seems like lots more fun than being the Next Big Thing.
Jon Hamm is so hilarious. More people should watch his excellent work in A Young Doctor’s Notebook, one of his best comedic roles.
I have to rant some more about what they did to Adam. I don’t know why they felt they needed a big, CGI devil, but it was quite unnecessary. Adam didn’t need Crowley to give him a pep talk to reject Satan, and he certainly didn’t need a cliched “You’re not my dad” scene. In the book he just did it, with no prompting and little drama. I have no idea why they decided to make Adam less intelligent, less compassionate and all-around less for the TV series, but I’m very disappointed that they did.
It’s been a while since I read the book but I seem to remember A and C not having that much actual impact on the plot – being more like a silly Rosencrantz and Guildenstern. Perhaps Gaiman wanted them to actually play a part in the resolution since they were, ostensibly the main characters.
That’s part of what makes it such a weird book: Almost nobody does anything important, at any point, but especially at the climax. Newt does his computer thing and Shadwell yells a lot, but the closest Aziraphale and Crowley come to impacting the plot after the prologue is the moment when A points out that Hell and Heaven don’t really know what God wants, which helps get them to back down. Everything else is Adam wishing stuff away, which means the real actual climax is when he turns his back on his Antichrist powers 100 pages earlier, when the Them push him on how he can’t “own” Tadfield—which, bizarrely, doesn’t make it into the show!
You’re quite right that none of the characters have much agency in the Armegeddon stuff (apart from Adam who is slightly more object that subject, not really a protagonist himself). But I’ve never felt this is any more strange or difficult than, say, Jack and Rose having no agency over whether the Titanic strikes an iceberg and sinks. There are plenty of stories that interact with a central catastrophe that the characters don’t have much ability to affect one way or another.
As in Titanic, our central pair rather have agency in their own story, which is the story of how two characters with a unique point of view on wider events will respond to that catastrophe; what choices they will make as the system they have always lived under, and which provides the conflict at the heart of the relationship, ramps up to a crisis point. Aziraphale and Crowley’s story comes to a head with Adam’s choice because his is not the only soul being fought over. They might have no agency over the outcome of Adam’s choice but they have agency over the outcome of their own choices which tie in thematically to that wider resolution.
This arc/s is/are understated in the book, as it is much more of a patchwork of plot threads and moments than the series, with its greater focus on Aziraphale and Crowley. And I don’t think the show really found its way to tell that story for the screen. It asked us to invest in Aziraphale and Crowley but never quite successfully used them to give emotional stakes to the wider conflict.I don’t think it was bad writing (after all, the angel/demon scenes were the most watchable parts of the show) it was just the wrong writing for this novel-form miniseries format. They central pair were given a static sitcom-y relationship detached from the main plot in its emotional arc and so the series failed to use them as a tool to give us a story we cared about as part of the wider Armageddon plot and thus make us care about the latter.
So, as these reviews noted, you could end up wishing the series would
forget the plot and let us just observe the angel and demon bouncing off
each other.
(sorry, Kinja double post). Ignore
This was a fun show. Sheen was a delight to watch. A great cast can overcome a lot and I liked spending time with these people.I can’t for the life of me figure out why Adria Arjona looks so familiar to me, especially because whoever it is she resembles so much seems to change with every different angle. One minute she could be Salma Hayek’s daughter, the next she could be Melissa Fumero’s sister or even Penelope Cruz’s’s cousin. I’m happy to look at her, but it is distracting.I simply do not get the animal hats that the devils wore. I’m glad to hear there was some reasoning behind the “bitch” line, but it still hit me as an action movie-style line verging on “everyday sexism.”As for as the optimistic implication that the kids will fix the world’s problems with youthful idealism, I’d point out that The Them are now in their 40’s and didn’t save shit. That kind of “let’s all just kick up our heels and enjoy the end of history” complacency is very very 90’s to me. And I’m no longer in the mood to smile indulgently at the Mr. Youngs of the world. I’m glad we got none of his inner monologue.
Beelzebub’s hat makes sense since her namesake is connected with flies and pests. No idea about Hastur or Liger.Adria Arjona seems best known as Dorothy in that Wizard of Oz miniseries, “Emerald City”.
I was about to ask if the frog/lizard hats were explained in the book. Beelzebub is the lord (lady, here, I guess) of flies, so that made sense.
It makes perfect sense in Hell when she’s surrounded by a swarm of flies and covered in anthrax. When she’s at the airfield, she’s Anna Maxwell Martin in a dumb hat. No flies, no boils. Did they just run out of money? Sometimes Ned Dennehy is a guy in a wig, sometimes he has a frog on his head. It’s distracting.
I had the exact same feeling with the ever-shifting familiarity of Adria Arjona – I like your additions to the mix. Every so often she reminded me of Gaia Scodellaro (from You Me and the Apocalypse), but I ended up fairly sure she looked like a young Natalie Portman. And she does a bit, at least in some photos, but I’m not convinced we’ve a) got the right person or b) are close to thinking of the same person. Maybe she’s just got one of those faces.
If you view the series as any kind of serious comment on contemporary events of either 1990 or 2019 it’s a nearly total failure in my opinion, but that’s now how I viewed it at all. As you say, it was a fun show. That’s all
All the demons were originally animals in the garden of eden.
Adria Arjona is the daughter of Ricardo Arjona, a really popular (in Latin America) pop/folk singer. His music is as atrocious as his daughter is beautiful, I guess.
I really disagree with this review, I thought the ending was a mess and pretty disappointing – for anyone interested, my review is here: https://comedytowatch.com/2019/06/05/tv-review-good-omens-episode-6/
“Just imagine how awful it might have been if we’d been at all competent.”—Aziraphale, summing up the entire show.I feel the same way about more than one presidential administration.Anyway, it was a good enough show. I still think it would have been better as a 2 hour film than a 6 hour miniseries, but since Terry Gilliam never managed to get it together – or fortunately, as we might have gotten Robin Williams and Johnny Depp instead of Michael Sheen and David Tennant. I didn’t love it, but I liked it a lot. If nothing else, it convinced me to buy the audiobook and give it a listen, as it’s been decades since I last read the book.
I will probably rewatch this but solely for David Tennant’s performance. He doesn’t just walk he slouch-walks (which I’m calling Louching from now on) like he doesn’t really have any purpose or reason to get anywhere. The rest of the story was just side plots for Crowley to louch through.
Doctor Who David Tennant was cute and nerdy styling. However Crowley David Tennant as a snake eyed jaded rocker was hot, despite being kind of a douche. Him and Michael Sheen are just adorable together. They could have just chatted in varying costumes for the entirety of episode 3.
Tennant pretty much played Crowley as “what if his Doctor incarnation were a demon” and it was tremendous.
I would totally watch a Crowley & Aziraphale road-trip TV show, except across eras instead of countries. I would watch the HELL out of that (pun definitely intended).
Reminds me a lot of his turn as asshole-with-a-heart-of-gold in the 2011 Fright Night.
Tennant’s walk suggests that Crowley never really stopped being a snake.
I enjoyed the series. I am glad it was made. I wanted my husband to enjoy it to. The best I could get out of him was, “I don’t dislike it. But I haven’t decided if I can like it yet.”The only show I could get him to thoroughly enjoy was True Blood. That was a treat to watch. He even liked Tara. But I do admit, when you watch True Blood through in a good binge sessions – Tara is much more understandable.I am glad more people are exposed to the Tao of Pratchett.
True Blood is still good, campy fun. It’s been five years since True Blood ended, and I’m still up in arms about how poorly Tara was treated as a character. That show’s writers seemed to really hate either the character or the actress. Holy shit her (spoiler alert for a show that’s been done for half a decade) off-screen death in season 7 was maybe the most disrespectful write-off of a long-running character I’ve ever seen. I liked Vampire Tara. I got her. And they finally let her kick a little ass. Then they motherfucking killed her off screen for no fucking good reason.
No comment on the number plate D:
Adam’s earthly Dad’s number plate is SID RAT (read it backwards) 😀
So according to Amazon and Gaiman, this show is suppose to be one and done. Gaiman doesn’t want there to be any follow up and Amazon said it won’t try to continue the series no matter how successful it is. At first I thought that sucks, but then after absorbing the whole show I realized, I’m fine with it. Because I really only cared about seeing just Sheen, Tenant, and Jon Hamm. By the way, Jon Hamm comes off more of a MIchael than a Gabriel. I feel like Gabriel is more of the shadowy assassin type while Michael would be the High School Varsity Jock bully. Anyway, the show on the whole was fine, but really the only reasons I liked it was just seeing David Tennant, Michael Sheen, and Jon Hamm. Which mean I don’t need the show, I just need to see those guys in a comedy together. I would be equally enthusiastic if they made a show where Tennant and Sheen were detectives while Hamm played their captain. The seeds they may have planted for future storylines I couldn’t really see as a storyline for a second season. The idea of the Heaven and Hell teaming up to go to war with humanity sounds like a season 4 storyline and they need 2 seasons just to build up to that. And given the actors salaries and schedules and the scope of trying to keep it in production with budgets, it just sounds like it wouldn’t work out. Lets not forget how long it takes for amazon to come out with the Man in the High Castle. And that show is ending as well.
But the bigger question is whether this Gabriel is a Zoe or a Zelda.More seriously – but still not very seriously – you’re right about how pop culture has laid claim to the personalities and roles of the various archangels. This Gabriel is more of a pop-culture-Michael than a pop-culture-Gabriel.Milton certainly got a head start for Michael and Lucifer, and I think we have Alan Moore to thank for how Gabriel became an agent of chaos and change, a bit of a trickster or schemer, and much more comfortable with interfering semi-autonomously in mortal affairs than other archangels.Personally I’ve always wanted to see somebody try to grab one of the other archangels that nobody ever talks or writes about and try to make them a thing. According to Milton, at least implicitly, God was pretty liberal with making archangels back in the day, and it’s possible some of them were created for ridiculously specific one-off tasks.
It’s like “you pass butter,” but even worse. But I suppose if your entire purpose was to pass God the butter that one time, it’s better to be The Motherfucking Archangel of Passing God The Butter That One Time, rather than just some random putz He commanded to do it.
I feel like Gabriel is more of the shadowy assassin type while Michael would be the High School Varsity Jock bully.One of my minor disappointments with the series is that nobody turned to Gabriel and said, “Aren’t you supposed to be playing a trumpet or something?”, and Gabriel mumbles something about having given it up after high school.
I think Gaiman committing to making sure it’s just a one off miniseries is great, for all the reasons you say but also more generally this thing of doing shows which are book adaptations and then keeping them going beyond the book a la Handmaid’s Tale and Game of Thrones is ridiculous and has got to stop.
And “Orange is the New Black”
And “Big Little Lies” and on and on
You’ve just put the idea for a David Tenant, Michael Sheen, & Jon Hamm anthology series in my head (possibly including Neil Gaiman writing)…and I don’t know whether to praise your genius or sulk at the unlikeliness this actually happens.I will pretty much watch anything David Tenant is in, since from Doctor Who to Broadchurch, to Jessica Jones, to Duck Tales, to this…he chooses good projects, and is always compelling in them.
I’m very glad it’s one and done. Sometimes a nice little thing should just remain a nice little thing.
Well, there’s more coming anyway.
Michael Sheen was on Graham Norton on New Year’s Eve 2021 in his platinum dye job saying he was shooting season two…
I knew that. This was posted back in 2019 after season 1 ended. I already commented on the article that confirmed on the second season last year.
OK, cool- I only just watched S1 this week.
As a whole I loved the miniseries. It has its faults, like its overdedicaton to replicating most of the book as possible and it has some structural problems like the source material.
But nuts to all that. It was an enjoyable six episodes spent with an angel, a demon, and a mish-mash of weirdos, misfits, and powerful entities. And the epilogue was pure beauty and craftiness fit for Aziraphale and Crowley.To the world, indeed. *clink*
Same. It certainly wasn’t top-notch, must see, prestige TV, but it was charming, entertaining, and didn’t wear out it’s welcome. There were funny moments, and sweet moments, and cool moments.Throw in Hamm, Mckean, and of course Tennant’s and Sheen’s max chemistry performance and it was very enjoyable.
I enjoyed it too, much more than the Catch 22 misfire on Amazon. Both have the same problem…i.e. the books are very hard to adapt due to most of the humor being in a written form and asides and ways of speaking and not really based too much on things that can be viewed. But Good Omens did do a much better job here and I think did as about as good a job for a visual medium that can be done.
My favorite part through all of it has to be Michael McKean, whom I thought I’d forever accepted as the staid Chuck McGill.To be honest, I thought it stuck to the source material in the wrong way – kept the dialogue, not as much the spirit. ‘Good Omens’ is an excellent riff on its source material – the Bible – where there really isn’t a single player who controls events, just God playing 4D ultrachess with herself.
This was not a perfect adaptation – oh, how much of the narration could have been cut – but it’s so much better than I ever imagined a TV series of ‘Good Omens’ could be. I think Sheen and Tennant have just been inducted into the Can Not Be Improved On Casting Hall of Fame; there’ll never be a Crowley and Aziraphale to top these two, even if there’s another adaptation. And I hope this leads to more Hamm comedy casting – he captures this smarmy, terrible boss character so well, especially when the mask slips a little. (“Just shut your stupid mouth and die already.”) If nothing else, I think Gaiman has done Sir Terry proud.
For a show that did some cool things with visuals (the stop motion animal slaughter was really cool, as was the black and white flashback of Aziraphale learning to dance, for example), they really didn’t put a lot of faith in their ability to shift verbal/textual narration to visual narration. If that had been done right, they could have cut about half of the voiceover, but made it so much better. One mode of storytelling could have elevated the other. Instead, a lot of the voiceover steamrolled the visuals or beat the viewer over the head with the point.
the additional stuff with heaven/hell during the ending was cool, I kinda hoped seeing as they were straying from the book ending they were going for an idea of Crowley/Azeraphel having evolved past demon/angel into something new, much like what happened with Adam.
Giant CGI Satan didn’t really seem to fit in well with the design of the show’s world, and was entirely unnecessary. They should’ve saved that CGI money.
Watching this made me hungry for a 1 off 6-8 episode DOGMA TV series. The film could probably be expanded some to create an interesting and fun program.
Has anyone else here been comparing this to the 2014 BBC-4 radio adaptation? The storytelling and foreshadowing are much more effective there, and the casting of Aziraphale and Crowley just as inspired.
The worse part about this adaptation is how they kept undercutting and killng jokes from the book by trying to make small and clever moments BIG and DRAMATIC.Overall it was fine (probably a B for me) helped a lot by performances by great actors but I really didn’t agree with some of the creative choices they went with.
without reading back through all of the comments, can anybody tell me if someone else noticed that when Adam’s dad drove up, His Car’s License plate reads SID RAT ? Which is TARDIS backwards?
No? Just me then.
I noticed. Also:https://www.syfy.com/syfywire/some-of-the-coolest-good-omens-easter-eggs-according-to-neil-gaiman-david-tennant-and-crew
There’s at least eight Doctor Who Easter eggs deliberately put in the show with a challenge for you to find them all.
you mean other than shared actors? because if it’s stuff like references to specific 50 yr old episodes, then I’m out
That was the one that I caught. I realized Crowley’s car appeared to have the same backwards easter-egg quality to it’s plates, but I never got a clear read on it.
glad they stayed together at the end. Such a cute couple
It would have been fun to have Idris Elba show up just to quickly let us know that today we are cancelling the apocalypse.Second bad joke: The real Good Omens were the friends we made along the way.
They really were, though!
“Complete with a brief explainer for American viewers”… Or for like, all other non-British viewers.
I swear I teared up a little when Crowley saw that his Bentley had been restored.
You know, I just realized something: I don’t think that was Crowley, I think it was actually Aziraphale. Which would explain why he took a cab instead of driving.
I swear I teared up a little when Crowley saw that his Bentley had been restored.
This was very much a “slight” show. I remember liking the book but I think I also thought it was “slight.”However, as others have noted, Sheen and Tenant wee amazing. Sheen especially. I’ve fallen a bit for Aziraphale.
What an awful show.