So There's A Lot To Unpack Here But I Want To Start By Talking About The Ending And Specifically About

So there's a lot to unpack here but I want to start by talking about the ending and specifically about the Metatron and the calculating moves made at the end of episode 6.

Every single piece of what happened there was a manipulation technique being employed against Aziraphale to an almost brilliant degree and I'm honestly a little obsessed with what this says about the Metatron in particular.

Let's go in order.

First of all. We see him order coffee. In a human body. Something sweet and sugary. He talks to Nina and asks her about her shop name. Does anyone ever ask for death? And when she tells him no they don't his response is to say "so predictable". Our introduction to him here even when everything about him reads like a sweet old man is presented to show us someone who reads the world in terms of being predictable to him.

He then shows up in the middle of Aziraphale's existence being threatened. He immediately cuts down the threat's authority (using outdated language like Az himself would favor) and reemphasizes his own connection to Heaven. When Michael doesn't recognize him and he puts her down and then directly engages Crowley. Crowley who, to Aziraphale, has for centuries at a minimum been someone he thinks is smarter, better, more Good than these other archangels. The Metatron validates these beliefs. Crowley is more Heavenly than these archangels who couldn't even recognize the voice of God when he was standing right in front of them.

The Metatron draws attention to the fact he's in a human body. The kind of body Aziraphale has been in and loved for nearly 6000 years. He then banishes the archangels, implying their morality is in a gray space, and validates Muriel someone we have seen Aziraphale react positively to and someone outside the current power structure. Look at me, he's saying. I see and validate the little guy.

He then tries to talk to Aziraphale. Aziraphale says "I've made my position quite clear." And then the Metatron offers Aziraphale the coffee. This bartering chip, consuming sustenance, is a thing that Aziraphale and Crowley have used as their connective tissue for centuries. It's an olive branch for them. It's giving Aziraphale bodily pleasure and the Metatron implies that he himself has partaken also - a thing we know that Aziraphale has struggled historically with moralizing. He is seen by the closest thing he has left to his parent and he is having old fears validated as safe and old habits being played upon to make him feel secure

He then REMOVES Aziraphale from his home turf. Not only does he remove Crowley from the equation but he takes Aziraphale from the place that has stood as a place of sanctuary throughout the entirety of the season. The shop is Safe and Aziraphale is leaving it and he is leaving the one person who might be able to smell the bullshit coming from the Metatron. The music notably turns absolutely dire here.

The next time we see them the Metatron tells Aziraphale that he doesn't need to answer instantly. He can take his time, if he likes. All the time he needs. And then tells him to go tell Crowley. Once again bringing Crowley in as a valid part of this while manufacturing a scenario where he can't possibly be.

Az ends up in a place where he's overwhelmed and confused and he wants so badly to believe what he's being told. It's an appealing thing from his perspective! He feels off kilter like he's made a mistake in judging the Metatron. He can't even fully articulate what happened to Crowley at first and he's had absolutely no real time to actually think it through. He's running on sheer reactive energy.

The Metatron starts their conversation by asking Aziraphale's opinion. Who should rule Heaven? This is once again playing into making Az feel validated and like he's a part of this decision making process. The Metatron corrects him, complimenting Aziraphale and making him feel capable and in control. He reassures Aziraphale's bafflement. And draws attention to some traits that, while true of Aziraphale around Crowley, are not his defining traits in the eyes of Heaven. You don't just tell people what they want to hear I find particularly notable in this regard given Aziraphale spent most of his time on earth actively lying to Heaven and doing just that. But it fits into the narrative Aziraphale has built around himself, especially post Apocalypse. The Metatron then says I need you (a phrase Az will use much more painfully here in a minute).

And even after all this Aziraphale says no. He says flat out he doesn't want to go back to Heaven. He says this!!! And then the Metatron sweetens the pot. He swaps tactics. Not once has this come up until Aziraphale pushes back against the idea. If the Metatron could've gotten him without using it I have no doubt he wouldn't have bothered with it. Come to Heaven and we can save Crowley. Aziraphale loves Crowley. Aziraphale thinks Crowley is better than any of the angels he's interacted with. Crowley is Good and Nice and Kind and always saving him and now he's being presented with a way to return that. He can Forgive Crowley - a thing Crowley has always presented to Aziraphale as something he struggles with. All of these things Aziraphale has watched Crowley react to in a way that belittles himself or distances them from one another. Of course he wouldn't consider that maybe what he was actually saying is "I'm unforgivable and I don't want that forgiveness."

The Metatron offers Aziraphale a Dream Offer for the pre Armageddon Aziraphale. You can keep your Crowley. You can heal him like you have always thought he deserved. You can have power and control the people who for your whole existence has beaten you down. It can go back to how it was but BETTER.

When Aziraphale leaves he still hasn't answered. He goes and has the conversation they have. It's intense and emotional and the Metatron comes in after the Moment all casual and asks how it goes, knowing fully well the shitstorm he had just set up to get created. And then he turns around and says "always did want to go his own way" which is not only true of Crowley but framed as a bad thing despite the fact that he has just spent twenty minutes or so telling Aziraphale that he's done his own thing and that is Good. He is playing both sides of this perspective as it suits him. And then he cuts down Crowley asking questions, pressuring Aziraphale to avoid doing the same. He then proceeds to ask Aziraphale not if he's made up his mind but if he's ready to get started. He is one by one closing off exit routes to this thing as Aziraphale starts to look more and more panicked and indecisive. He makes sure the bookshop is in good hands and asks Aziraphale if there's anything he needs to take with him. Letting Aziraphale have the illusion of choice while cutting down "I don't want to" as an option altogether.

And Az, as soon as the Metatron is out of shot, tries to express this. And then he falls back right on old coping methods. The Metatron pats him on the head. Reassures that he's the right one for this. That he is Good. That his particular skillset is needed here.

It is a masterstroke of manipulation. A very dark twist on what we see Crowley do time and time again with Aziraphale throughout the millennia. Familiar in a way that makes Aziraphale feel safe. Except this time this is being used to put him back in line. It's brilliant and painful and it fucking hurt and I need a season 3 to see the Metatron get what's coming to him stat.

A Being of Grand Design

I wear a dress made of stars, galaxies swirling along the bodice, nebulae lining the fringe. i am made of every life ever lived and every soul that ever will be.

My skin is covered in words. Every poem, every novel, every classic i’ve ever read. Words melding together and covering my skin in ink. 50 thousand fonts and letters melding together in a grotesque mockery of a tattoo. My favorites excerpts are printed in bloody red.

Every breath I breath in is made of stories. Novels, plays, movies, ballet, tv shows, opera, music, art. It fills my veins and fuels my body. Carrying thoughts and dreams as they make my muscles move.

My hair is thousands of memories strung together. Ever moment filled with emotion. Sadness drowns me as Rage burns bright. Love floats me to the highest clouds as happiness brings me down to earth where I can dig my toes in fresh soil.

Seas of tears fill my eyes. Every one I’ve ever shed and every one I haven’t. Just because something isn’t real doesn’t mean I can’t scream for it. Tear filled wails shake my body as I sob for lives never lived and souls reaped to soon. Dreams drown as I cry for every person alive and those already in the grave and those who will be and those only found within stories.

My heart pumps ink through my veins. Never replacing blood but trying to take a humanity to whom it’s claim had always been staked. The ghostly hands of authors long dead and characters fated to be, caress my bones as I crawl to my grave of pages.

I start as a film reel replaces my brain. Love and Loss and Pain and Worship not mine control me like a marionette. Every emotion from this earth and beyond dig their claws into the inside of my skull as ideas framed as people recite lines lost to time.

I cut my arms open with a sharp shard of glass. I spill blood red as dusk as I don every bad thought, every bad day , every tragedy and heartbreak, every scream and fear fraught day my family has ever had. I soak them in my ink streaked blood and make every familial woe mine. I wear boots made of death and tights of betrayal. My shawl is of fear and my belt made of financial doubt. I wear a headband of hate and bangles of loss as prejudice is smeared around my lips like lipstick.

They ask me what it’s like to be a writer.

I say it’s like turning yourself into fates marionette as you become Frankenstein’s monster.

NEIL’S BLOG ENTRY ABOUT GOOD OMENS SEASON 2

Many, many years ago (it was Hallowe'en 1989, for the curious, the year before Good Omens was published) Terry Pratchett and I were sharing a room at the World Fantasy Convention in Seattle, to keep the costs down, because we were both young authors, and taking ourselves to America and conventions were expensive. It was a wonderful convention. I remember a huge Seattle second-hand bookstore in which I found a dozen or so green-bound Storisende Edition James Branch Cabell books, each signed so neatly by the author that the bookshop people assured me that the signatures were printed, and really ten dollars a book was the correct price.

I could afford books. Good Omens had just been sold to UK publishers and then to US publishers for more money than Terry or I had ever received for anything. (Terry had been incredibly worried about this, certain that receiving a healthy advance would mean the end of his career. When his career didn’t end, Terry suggested to his agent that perhaps he ought to be getting that kind of advance for every book from now on, and his life changed, and he stopped having to share a hotel room to save money. But I digress.) Advance reading copies of Good Omens had not yet gone out, but a few editors had read it (ones who had bid for it but failed to buy it) and they all seemed very excited about it, and thrilled for us.

On the Saturday evening Terry left the bar quite early and headed off to bed. I stayed up talking to people and having a marvelous time, hung in there until the small hours of the morning when they closed the hotel bar and all the people went away, and then headed up to the hotel room room.

I opened the door as quietly as I could and tiptoed in the dark across the room to where my bed was located.

I’d just reached the bed when, from the far side of the room, a voice said, “What time of the night do you call this then? Your mother and I have been worried sick about you.”

Terry was wide awake. Jet lag had taken its toll.

And I was wide awake too. So we lay in our respective beds and having nothing else to do, we plotted the sequel to Good Omens. It was a good one, too. We fully intended to write it, whenever we next had three or four months free. Only I went to live in America and Terry stayed in the UK, and after Good Omens was published Sandman became SANDMAN and Discworld became DISCWORLD™ and there wasn’t ever a good time.

But we never forgot it.

It’s been thirty-one years since Good Omens was published, which means it’s thirty-two years since Terry Pratchett and I lay in our respective beds in a Seattle hotel room at a World Fantasy Convention, and plotted the sequel. (I got to use bits of the sequel in the TV series version of Good Omens – that’s where our angels came from.)

[Terry and I, in Cardiff in 2010, on the night we decided that Good Omens should become a television series.]

Terry was clear on what he wanted from Good Omens on the telly. He wanted the story told, and if that worked, he wanted the rest of the story told.

So in September 2017 I sat down in St James’ Park, beside the director, Douglas Mackinnon, on a chair with my name on it, as Showrunner of Good Omens. The chair slowly and elegantly lowered itself to the ground underneath me and fell apart, and I thought, that’s not really a good omen. Fortunately, under Douglas’s leadership, that chair was the only thing that collapsed.

So, once Good Omens the TV series had been released by Amazon and the BBC, to global acclaim, many awards and joy, Rob Wilkins (Terry’s representative on Earth) and I had the conversation with the BBC and Amazon about doing some more. And they got very excited. We talked to Michael Sheen and David Tennant about doing some more. They also got very excited. We told them a little about the plot. They got even more excited.

[Rob Wilkins and David Tennant on the second day of shooting.]

I’d been a fan of John Finnemore’s for years, and had had the joy of working with him on a radio show called With Great Pleasure, where I picked passages I loved, had amazing readers read them aloud and talked about them.

(Here’s a clip from that show of me talking about working with Terry Pratchett, and reading a poem by Terry: https://www.bbc.co.uk/sounds/play/p06x3syv. Here’s the whole show from YouTube: https://www.youtube.com/watch?v=j7OsS_JWbzQ with John Finnemore’s bits too.)

I asked John if he’d be willing to work with me on writing the next round of Good Omens, and was overjoyed when he said yes. We have some surprise guest collaborators too. And Douglas Mackinnon is returning to oversee the whole thing with me.

So that’s the plan. We’ve been keeping it secret for a long time (mostly because otherwise my mail and Twitter feeds would have turned into gushing torrents of What Can You Tell Us About It? long ago) but we are now at the point where sets are being built in Scotland (which is where we’re shooting, and more about filming things in Scotland soon), and we can’t really keep it secret any longer.

There are so many questions people have asked about what happened next (and also, what happened before) to our favourite Angel and Demon. Here are, perhaps, some of the answers you’ve been hoping for.

As Good Omens continues, we will be back in Soho, and all through time and space, solving a mystery which starts with one of the angels wandering through a Soho street market with no memory of who they might be, on their way to Aziraphale’s bookshop.

(Although our story actually begins about five minutes before anyone had got around to saying “Let there be Light”.)

Arthur

Arthur is obsessed with muggles. However, he does not seem to see them as equals. In his mind, muggles are poor fools that need to be protected. It's less like fighting for racial equality and more like people fighting for animal rights.

In Book 2, he states:

“Just Muggle-baiting,” sighed Mr. Weasley. “Sell them a key that keeps shrinking to nothing so they can never find it when they need it.. Of course, it’s very hard to convict anyone because no Muggle would admit their key keeps shrinking — they’ll insist they just keep losing it. Bless them, they’ll go to any lengths to ignore magic, even if it’s staring them in the face…"

Then in Book 4, when Fred gives Dudley Ton-Tongue Toffee, he says:

“It isn’t funny!” Mr. Weasley shouted. “That sort of behavior seriously undermines wizard–Muggle relations! I spend half my life campaigning against the mistreatment of Muggles, and my own sons —”

So he probably doesn't think Percy is making a good decision to actually work in the muggle world, but I don't think he gets too upset about it either. If anything, he may see this as an opportunity for him to learn more about a topic that he clearly enjoys, and it could potentially help his cause by having proof (from Percy's testimony) that muggles deserve to be treated fairly.

Molly

I definitely think Molly reacts the worst out of everyone. She doesn't hate muggles, but she certainly isn't overly fond of them either.

She definitely dislikes Arthur's obsession with them (though in her defense, that probably has more to do with him wasting money on it/focusing on it instead of helping her with the kids/house).

In Book 4, Arthur says,

“Ah yes, I can see the plugs. I collect plugs,” he added to Uncle Vernon. “And batteries. Got a very large collection of batteries. My wife thinks I’m mad, but there you are.”

Also, what's even more telling is that in Book 1, when the Weasleys are at King's Cross Station, Harry overhears her say:

"-- packed with Muggles, of course --"

I know that JKR included this line so that Harry could identify another wizarding family, but she should have used something else (like Platform 9 ¾) instead, because they are literally in a muggle train station, so the comment seems unnecessary and rude. Think about if you went to Chinatown and said "packed with Chinese people, of course."

Plus, Molly wants all of her children to work at the Ministry of Magic. This is a comment in Book 4 (about the twins):

“And then there was this big row,” Ginny said, “because Mum wants them to go into the Ministry of Magic like Dad, and they told her all they want to do is open a joke shop.”

This is the same instance where she literally burned all of their order forms. She seems to have (sort of) accepted Bill & Charlie's choices, as well as Fred & George's joke shop (after they make a lot of money), but Percy is the child that she expected to go into the Ministry the most.

There would definitely be a massive row with her.

Fred & George

They likely wouldn't care much, because they clearly don't mind muggles either. In Book 4, after they gave Dudley the Ton-Tongue Toffee and Arthur yells at them, they say:

“We didn’t give it to him because he’s a Muggle!” said Fred indignantly. “No, we gave it to him because he’s a great bullying git,” said George. “Isn’t he, Harry?”

If anything, I think they love that Percy is now the family "disappointment" because they've spent so long getting yelled at by Molly that this is a nice change of pace. Plus, it takes the pressure off them. Even if they open a joke shop in the wizarding world, Molly still won't be as angry with them as she is with Percy.

Suddenly "Perfect Percy" isn't so perfect anymore, and it probably (ironically) improves their relationship.

Bill, Charlie, Ron, & Ginny

They are probably all rather incredulous about the entire thing and think Percy is mental for not wanting to work in the wizarding world (and Hermione encourages this idea because she clearly wants nothing to do with the muggle world anymore), but I really don't think they treat him badly over it.

They probably just think he's finally cracked under all the pressure he puts on himself, and if this gets him to loosen up, then it's not all bad.

I do think Charlie & Ginny would find it a little cool though, and they're both more likely to actually talk to Percy about his new life, whereas Bill & Ron will probably avoid the topic altogether.

Other Thoughts

One of the most interesting parts about this AU is that is has the potential to drastically change the story. If Percy doesn't work for Barty Crouch, then chances are, whoever is in his position doesn't do as good of a job running the department on their own, so people figure out something is wrong with Mr. Crouch much sooner.

Once that happens, they (i.e. Dumbledore) may very well be able to put the pieces together about Barty Crouch Jr., and then his plan fails, Harry never goes to the graveyard, Cedric never dies, and Voldemort never officially returns in a body. So is the war even going on anymore? Possibly not for a few more years while Voldemort tries to capture Harry!

Even if the war continues in the exact same way as canon, I think Percy's job in the muggle world could actually be beneficial. He could be there to prevent some of the damage & protect the muggles, and he could help muggleborns & their families escape through the muggle world in a way that wouldn't be traced back to them.

There's a lot of potential there for a great fanfic! 😉

Thanks for the ask! 😊

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raysreads

Leafing Through Pages

A Place where I dump all my thoughts on Books, Movies, Tv shows and any Fandom I end up involved in along the way. Favorite Characters include: Percy Weasley, Regulus Black, Dionysus, Mycroft Holmes, the 12th Doctor, Bruce Banner and many More.

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