And another thing is, Aziraphale doesn’t just love Crowley because he’s (not so) secretly kind, he loves him because he’s rude. He’s brash, he’s blunt, he’s irreverent, he says the things you’re not supposed to, he makes himself as noticeable as possible without shame, he takes up space. He’s defiantly and definitely himself, and for someone like Aziraphale, stuck in a system that depends wholly on being nothing like an individual—getting in line, shutting up, sitting down, asking no questions, waiting for orders—shades of beige and white and fear—well Crowley looks like courage. He looks like loving yourself and not caring if you’ll get away with it, just knowing you have to do it to live. And Crowley doesn’t just do that for himself. He does it for Aziraphale too—notices the little pleasures he’s selfish about, the little slips of the tongue and surrenders to temptation and small moments of temper and doubt, and he adores them. He even forgives Zira for saying accidentally quite cruel things to him while he’s trying to understand the world, so long as he’s not trying to be cruel and he learns better. He wants Aziraphale to be a bastard, if that’s what he needs to do. He wants Aziraphale to have a soul.
It makes so much more sense why he’s somewhat obsessed with space when you realise he helped to build it.
Demons have no place in creation. When he says “I helped build that one,” he’s remembering his life Before. It meant so much to him. Being an angel meant so much to him, and he’s still absolutely devastated that he isn’t one anymore. He’s so Loud about it.
He’s the one puts forward the Arrangement that will allow him to perform holy miracles and blessings again.
He’s the one who decorates his apartment so that it looks as little like the crowded, messy, dirty Hell as possible.
He’s the one who recreates his own little Eden within that apartment, where he can play God and relive his trauma over and over again with himself in the position of power, rejecting any and all of his subjects deemed not to be worthy, without mercy. Because that’s how he sees the Almighty.
He’s the one who is so utterly convinced that God is not listening, because why would he believe they would? He’s been wrestling with his Fall and regret for 6 millenia and God has never come to help him.
He’s the one who insists on the idea that Adam can be reshaped through the power of Influence (read nurture over nature) because that means we always have the power to change and evolve, something he needs to believe in desperately. (Something he turns out to be right about btw).
And his obsession with space, this is the big one. The one aspect of Creation we know he had a part in. When he wants to escape it’s the first and only place he thinks of. Not Heaven, with it’s corporate charity, not Hell, where he never belonged. Space. Among the stars. Where he once walked as he does in his apartment surrounded by floating pages, a dull imitation of the real thing. Among the stars he helped create, where he could forget, and pretend he was an angel once more, surrounded by light.
me, reading aloud a post i just saw on a Queen fanblog: okay but Aziraphale and Crowley are ‘car friend/gay who can’t drive’ solidarity
my roommate, Amias: bold of you to say Crowley can drive
me: him having a car is literally critical to the plot of the book
Amias: doesn’t mean he can drive.
me: are you saying Crowley’s belief that he can drive is the only reason he can?
Amias: yes that’s exactly what i’m saying.
me: if he suddenly was deprived of occult powers and got into a car he’d be like “what the fuck is this”? that’s what you’re saying?
Amias: yes!! look, he goes 110 miles an hour in the middle of London and things rearrange themselves around him, he couldn’t pass a traffic test if his life depended on it. crowley can’t actually drive he’s just doing magic constantly
me: …somehow you’ve convinced me
It’s true and they should say it
Crowley if he ever got stripped of his demonic powers:
Aziraphale:
he actually hit a person how can y’all think that disaster can drive
Okay, but, do you know what we’re not talking about enough? The body swap scene.
So, in my opinion, the mark of a good plot twist is that you shouldn’t see it coming the first time around, but the second time through, you should wonder how you possibly missed it. The body swap scene is that 100%.
David Tennant plays Aziraphale-as-Crowley almost identically to how he plays Crowley. The exceptions are marvelous to watch – seeing the Bentley is my favorite, when Aziraphale-as-Crowley smiles more broadly and easily than Crowley ever lets himself until the end dinner at the Ritz be still my heart.
But in Hell? No discernible difference. The swagger is there. The casual seeming disregard for the danger he’s in. Seriously, the energy of his entrance when he’s brought into the courtroom is identical to his “Hi, guys” in the graveyard at the beginning.
I love this. Because it’s how Aziraphale would play it. Hell doesn’t frighten Aziraphale the way Heaven does. Demons are, in his book, straightforward. He just has to out-intimidate them, and Crowley already does that. So be Crowley, and that’ll do the deed. And he knows Crowley well enough to pull it off without a single hesitation. The only time it felt even slightly not-quite-right (in terms of not questioning that it was Crowley) was the utterly amazing little nose wrinkle. And I’ll forgive Aziraphale that – he knows he’s won; he can gloat a little.
But MICHAEL SHEEN, FRIENDS.
Crowley-as-Aziraphale is a completely different story because Crowley is not as good at the facade as Aziraphale is.
He almost is. When Crowley-as-Aziraphale is getting dragged away by the angels? That reads as Aziraphale 100%. But in the park with Aziraphale-as-Crowley? In the bookshop? And especially in Heaven opposite the angels? That is so obviously Not-Aziraphale that I DO NOT KNOW how I missed it the first time through. And that is a testament to Michael Sheen’s talent.
Aziraphale is a being who shows emotion with his entire self. He is never still, not his hands, not his body, not his face. Everything he is feeling plays out across every inch of him. He is effusive and genuine and has no idea how to push away any emotion even a little bit.
Think of all the other times we see him in Heaven! He’s nervous, he’s anxious, he’s flustered, he’s doing that thing with his voice and his face when confronted with these beings who genuinely terrify him. He can’t hide it.
But Crowley is all too familiar with pushing down emotion. Crowley is guarded, he is caution personified, he reserve and preservation, and with his angel’s life in his hands, on Heaven’s home turf? He can’t shake that.
Crowley-as-Aziraphale is so still. His face, his body language, his posture, it’s all this perfectly calm facade hiding a smoldering fury that Aziraphale might be incapable of achieving. But when Crowley-as-Aziraphale is confronted with the angels and see how they treat his soulmate best friend, he cannot hide that fury. It’s in his eyes, his face, his voice. But Michael Sheen-as-Crowley-as-Aziraphale plays it so well because it comes across as Crowley-as-Aziraphale saying to the angels, You broke him. You pushed him too far and you broke him and this is what it looks like, and you should be terrified.
And it’s all so perfect, and they’re both so talented, and I don’t think we talk about it enough.
The new-TV-GoodOmens fanon tendency to take Aziraphale’s very-soft presentation as unadorned truth is be/amusing to me.
He was the angel left to guard one of the Gates to Eden and he did in fact have a flaming sword. He is also the one who WOULD have shot Adam, had Madame Tracy not intervened.
He is also the angel who’s response to “wait I need to get back to Earth to stop Armageddon” is to do something that clearly SCARED THE SHIT out of the other angels who watched him do it, with a malicious-glee-glint in his eye, who hopped disembodied down to earth, and then floated around to try to find the right place.
He also, well. Fucked around with Heaven at all. There’s such a thread of comic corporate-absurd involved that it can be easy to miss, but what we’re shown is that the hierarchy of Heaven is just as happy as that of Hell to murder, torture, restrain, make captive and otherwise punish its own in the most horrible ways possible and in fact they’re far more effective at it. They just have a lot of Rules they follow, whereas Hell acts on a whim.
And there’s Aziraphale running around lying to them and pulling the wool over their eyes and so on. Something which, very clearly, none of those other angels are interested in doing.
Fundamentally Aziraphale is a stone cold agent of divine wroth.
He just doesn’t want to be.
He doesn’t like being like that. He doesn’t like suffering, his own or other people’s. All those times Crowley saves him, it’s important to keep in mind that Aziraphale’s in no more fundamental danger than he is when he loses his corporal form in the bookshop fire: if Crowley hadn’t shown up to save him in the church, for example, all that would have happened is that either a) he would have been discorporated and had to wait in line for a new body (or risk being reassigned) or b) Aziraphale would have had to do something Nasty to the Nazis there in order to save himself that trouble.
He doesn’t like either of those options! Those are both crappy options. But they’re not existential threats.
I’m the nice one he snaps when Crowley’s too busy having his Moment over his Bentley to take care of dealing with the soldier.
Aziraphale doesn’t like having to be cruel, or mean, or scary, or stone cold. He doesn’t enjoy it and given the choice he will in fact choose not to be.
What Crowley saves him from, over and over again, isn’t actually being killed.
Because what interests Crowley in him, and we see that, all the way back, is that very first instance of Aziraphale choosing not to be that person. That first time when what Aziraphale was supposed to be was Stern and Frightening and Judgemental and Harsh and Terrifying … . and instead he chose to court potential punishment (and actual existential threat) to give the people he was supposed to Terrify a way to protect themselves from all the scary things.
Aziraphale doesn’t want to be an instrument of judgement and wrath and what Crowley keeps saving him from is having to be. Crowley condemns the bloodthirsty executioner, so that Aziraphale doesn’t have to; blows up the Nazis so Aziraphale doesn’t have to.
Lets Aziraphale be the nice one, in fact.
Which I think is frankly far more fucking adorable.
But never let it make you think that Aziraphale is the safe one, or the helpless one.
He’s the one who, when faced with the apparent choice between killing a child and the end of the world, chooses to kill the child. Actually chooses to do it - not just plan, not just talk about, not just contemplate, but do it - and is only saved from having done it by sharing the body of someone who won’t let him.
Aziraphale is soft and slightly silly and gentle and non-confrontational and all of those things because that’s what he wants to be. He has fought for a long time to get to be that.
This is important.
Yeah, folks, don’t forget that “little bit of a bastard” that runs right through the core of him. ;)
“Just enough of a bastard to be worth knowing”, in fact.
If Gaiman himself knocked on my front door and told me he would add Crowley and Aziraphale saying “I love you” to Good Omens but I had to give up “You go too fast for me, Crowley” to get it, I would turn him down in a heartbeat. I know damn well which one of those lines is more romantic. I know which one of those lines is going to haunt me for y e a r s down the road. I know which line I’m going to be crying about for the next century, and it isn’t some common i love you. You can put those words in any character’s mouth, but you’ll have to pry you go too fast for me from my cold dead fingers before I give it to anyone else.
“You go too fast for me, Crowley,” is beautiful and fucking perfect and there isn’t a goddamn “I love you” in existence that can match it for feeling
That’s because I love you is a cut out!! Those are three very good words, but they are a stencil you can use on anyone!!
you go too fast for me, Crowley are you fucking kidding me, not to be dramatic but those 7 words hold 6 millennia of unrequited love and still have room left over to hold the look on Aziraphale’s face when Crowley hands him those books and the devastation of two words scribbled on a piece of paper in a park, and an entire matching-tartan thermos full of Aziraphale’s worst fear for Crowley because he won’t lose Crowley to the getting of it and he knows Crowley won’t use it on himself if Aziraphale is the one who gave it to him, because that would make it Aziraphale’s fault and Crowley wouldn’t do that to him because Crowley loves him and they both know it.
There’s only 7 words and they say I’m sorry, and I can’t yet, and I want to, and I’m not ready, this is too much for me, there are too many things I have to sort through on my end still, and you don’t have to wait for me but I hope that you can because I meant what I said about picnics and dining at the Ritz but I also meant it when I said one day. And somewhere, tucked safely into the curve of one of the e’s where Crowley will have to find it later after unpacking the rest, are the words I love you, too.
I love how we think of the same things. Look, I wrote this yesterday as an original reply to this post and then went, “no, we’ll talk about this later” and dumped in a draft:
as someone who is both asexual and who lives with severe anxiety, “you go too fast for me, Crowley,” is the best and worst line in existence. It speaks to my very soul.
You can hear the resignation in his voice when he says it. The quiet acceptance of what he thinks is going to happen.
He’s saying, “I know what you’re asking of me, what you’re offering, but I can’t yet.” He’s saying, “Yes, I want it. Yes, I have feelings for you, but they’re still new and frightening for me. I have to get used to them first, before I can do anything about them.” He’s saying, “I know I take too long. I know I’m processing too slowly for you. You want more, but I can’t give it. It’s okay if you don’t want to wait.”
Not a single person in existence asked us, but we’re both out here like, “AZIRAPHALE DOESN’T EXPECT CROWLEY TO WAIT FOR HIM 😭😭😭”
I would also like to point out that the FOLLOW UP to this conversation is that not ONLY does Crowley fucking wait for him because of course he will wait as long as Aziraphale needs, he makes sure “one day” comes true for Aziraphale. Not once, but TWICE they are seen dining at the Ritz.
Look me in my fucking eyes and tell me that Aziraphale saying “Perhaps one day we could, I don’t know, go for a picnic. Dine at the Ritz” followed by “you go too fast for me, Crowley” isn’t an EXPRESS timeline laid out for them as a couple because it fucking is. It’s 100% absolutely Aziraphale saying “I’m not ready right now, but someday when I am ready, I would like to do these things with you, if you’ll just wait for me.”
and that’s exactly what we see happen.
That is what KILLS ME.
Aziraphale tells him, in not so many words: “When I’m ready, I would like to dine at the Ritz with you.”
and then we later see them dining repeatedly at the Ritz together.
I just?? How??? does anyone?? It’s the most obvious narrative decision ever made!! And IMPORTANTLY, it’s made BEFORE the end. It’s made BEFORE they have experienced the stresses of the nonpocalypse and it’s shown to us in the first place casually, and they are both comfortable there, which implies that not only have they have done this before, they have done this often. Which means at some point we haven’t been privilege to seeing, there was a first time.
There had to have been, at some point in time between you go too fast for me and well I’ll be damned, a moment where one of them looked at the other and asked if they would like to dine at the Ritz. And either Crowley offered in a moment of bravery and Aziraphale decided that it was no longer too fast, or Aziraphale sorted out his shit and told Crowley he was ready for this by asking if he’d like to dine at the Ritz today, and honestly?? Thanks be, because I’m tired of just being TOLD people are in love, fucking show me it or get out of here, and Good Omens fucking delivered.
So yeah. You can have that exchange over my dead body.
Crowley isn’t unkind. Like, in general. He’s just not.
He creates mischief, and he’ll do bad things if he must, but given a choice, he generally chooses the kindest method to do something that he can get away with.
He refuses to kill children. He would rather run than fight. He scares the shit out of the paintballers, sure, but they all get near misses. He lets Aziraphale question the lady at the convent because Aziraphale will be kinder about it. He freezes time for Aziraphale in Paris, rather than come in guns blazing or by hurting anyone. He takes Jesus to see the world- the stories will say he did it to tempt him, but we see Crowley’s face and we know he did it out of compassion, out of a hope that he could save him, somehow, by showing him everything that was available to him. He delivers the antichrist and immediately seeks out an angel to help him undo what he has done, and by raising the child better, not by any unkindness.
And look at the other demons. Hastur tells him about the pastor: ‘i put doubt into his mind’ which implies direct manipulation of mortals. Hastur caused that evil directly. Crowley isn’t like that. Crowley tends to affect the environment, to set up situations, to cause low grade evil that isn’t really any one particular person’s fault and won’t damn anyone on its own. He leaves people the free will to choose to commit the evil or not. His evil is the sort that knocks out the phone network and leaves people the opportunity to either get mad and lash out or shrug and go about their business. His brand of evil is to do his best to give humans a fighting chance to do the right thing, still.
Like he’s just. Kind. Or at least, as best as he can be, considering his job requirements and the role he must play to continue to exist.
And how must it feel, to want to be that kind, while knowing it is against the rules and could get him killed?
And how must it feel to be have found this absolutely perfect angel, and angel who should hate him, who should want him dead, who should try to kill him, himself….. who presents him every opportunity to be kind, and so obviously approves of it, even loves his kindness at every turn?
When all of hell would destroy Crowley for his kindness and when none in heaven recognized it, the one angel he is beside on Earth not only notices but adores it.
And that’s what makes it different, when Aziraphale asks him, with just a look, to clean the coat. That’s the difference- Crowley’s kindness.
Aziraphale cleaning his own coat with a miracle would be an act of selfishness that Aziraphale would remember every time he looked at the coat.
But Crowley?
If Crowley does it, that’s an act of kindness. That’s something Aziraphale would want to remember every time he looked at the coat.
And that’s why Crowley does it- because he wants to be kind, and he’s so, so willing to indulge the only creature in any world that has ever noticed or cared.
Attack of the warm fuzzies! Also, Crowley found the perfect recipient for his kindness in Aziraphale. With how Heaven treats him, the angel just soaks up any kindness, affection and validation (or, hell, just the acknowledgement that he exists at all) that is directed at him personally, and returns pure sunlight. So Crowley gets to be nurturing on a personal level without ever having it thrown back in his face or endangering his life. It’s a neverending positive feedback loop.
the ritz scene, i think, is less about crowley than aziraphale’s growth. crowley remains relatively unchanged: he’s still a fallen angel who doesn’t want to kill kids, he’s still a sarcastic demon who creates major annoyances rather than death, and he’s still in love with aziraphale. there was never any doubt to this. crowley is the one who, from the very beginning, sought out aziraphale’s company. he suggested they run away together bc if they died, at least they’d die together. they’re on the same side. in the ritz, crowley stares at his love softly, absolutely enamored– not a new development.
aziraphale, on the other hand, is the one has been pushing against their friendship. he knows they’re friends, he knows he’s in love, but he refuses to admit it to anyone, even himself. he was never comfortable in their relationship, bc what if? what if they got in trouble, what if crowley was killed bc of him, what if what if what if? aziraphale is the one who has been putting the wrench in what’s between them, no one else. he’s the wild card who said they didn’t have a side, they weren’t friends. but here, at the ritz, after finally choosing a side (humanity and crowley), aziraphale is at ease with their relationship. this is the first time they’ve been together that aziraphale is comfortable. instead of sitting straight, staying away, he’s leaning in. & that’s so important
14 stress plants™ whose dirt has absorbed so much anxiety it would send anyone who touched it to hospital
1 lectern from exact geographical location of angelic rescue, retrieved when no one was looking as bomb sirens were malfunctioning for some reason
1 table that has inspired zero (0) fantasies of being plowed vigorously upon it by any angels at all
1 throne, only incidentally covered in carved winged creatures, which was there when occupant moved in
1 bed, 6000-year-old white feather decoupaged onto headboard at owner’s request
1 pair of Vantablack sheets, obtained without the permission of artist with whom current owner is in bitter longtime dispute
1 television/1 not television, depending on the time of day
1 sculpture depicting recreational masculine sport, for fitness inspiration
0 lights
1 sketch by artist with lustful designs, whose attention needed to be diverted for very important infernal reasons
1 safe containing 1 thermos of holy water, which has remained in safe for 50 years and has never been taken out occasionally and cried over
1 copy of Extremely Big Book of Astronomy, with “Holiday with Angel?” scribbled and then crossed out and then scribbled again five times in margins of section on Alpha Centauri
1 pair of snakeskin Louboutins
5 bags of cat food for Gorgo, the neighborhood cat whose cuddling and purrs are very annoying
1 citrus juicer
This fandom. I can’t with you people. <3
important question: what does Crowley do with the gifts Gorgo brings him
He thanks him and then as soon as Gorgo leaves, he brings them back to life and sends them on their way.
The first time Aziraphale met Gorgo he was like “Oh, Crowley, oF COURse you named this POOR CREATURE after a DEMON, you with your SEDUCTIVE SERPENTINE WAYS” and Crowley had to sheepishly explain that Gorgo is actually short for Gorgonzola.
Here’s another important question though: is this post implying that Crowley is secretly Stuart Semple?
My theory: he’s not, but they’re buddies.
Crowley’s official form excuses: "promoting a grudge with all attendant ire and Wrath; egging it on to further heights; public displays of pettiness, amplified by social media; etc"
Crowley’s actual interaction, over drinks at a pub: “Listen Stu, you know what you’ve got to do, right? Don’t stand for this nonsense. Take those fantastic pigments you’ve been working on for the last decade and get them OUT there. Yeah, that “not for profit” option for watercolor sets is a great idea. And I’ve made a special study of contracts and fine print recently – let me write you a clause. *scribbling* ‘are not purchasing this item on behalf of…“ There you go.“
Crowley, a demon, standing in the Garden of Eden next to Aziraphale, an angel, who he will spend the next 6000 years pining for: it’s just funny to me that God would put the one thing you’re not allowed to have right in front of you, like what’s that about
Ok and consider: Crowley is also the one thing Aziraphale is not allowed to have. Everything else on earth isn’t forbidden, even if it’s a little odd for an angel to want sushi, or Sondheim tickets, or satin shoes.
But Crowley is off-limits. He’s the enemy. He’s constantly trying to get Aziraphale to question Heaven’s orders and their explanations, to ask himself what is really the right thing to do.
Why was the apple forbidden food? It gave the knowledge of good and evil. It enabled them to choose for themselves instead of blindly obeying orders. Why is Crowley forbidden company? He does the same.
Uuh…i like…that??? It gives me feels…
all this time… i thought aziraphale was forbidden for Crowley… but now.. Crowley is the Apple™
Actually, since I’m here, there’s something I wanna discuss. I want to take a minute to marvel at how EASY it was to edit the conversations between Aziraphale and Crowley so they’re only talking about their relationship rather than the plot.
I mean, I say ‘easy’… it did take me two days to edit a 3-minute video, but what I mean is, it was a thoroughly straightforward task to remove context from their conversations, yet still have them run seamlessly and coherently without feeling like a part of the script was tossed out. The directing, the script, the way David and Michael delivered their lines, the way the audio was edited originally - once I dug into remixing it all, it kind of came across like they were neveractually talking about escaping the guillotine, or acquiring holy water, or driving too fast, but that Crowley is consistently seeking a more intimate relationship, and Aziraphale shoots him down over and over and over, but then sometimes asks him out on a date.
(This probably sounds obvious to anyone who watched the show and paid attention. But I love when people state the obvious when it comes to queer subtext. And yet this ain’t subtext, it’s text.)
Once all the plot is stripped back, six thousand years of their interactions consistently reveal themselves to be this:
Crowley asks for attention
Aziraphale says no, but provides it anyway
Crowley waits patiently for the world’s slowest demi-romantic.
Every visual interaction between them is more deeply symbolic than what might seem obvious - for example, Crowley releases the shackles (because Aziraphale was commanded not to use so many angelic miracles), thus Crowley releases Aziraphale from his angelic obligation to do what he’s told, at which point Aziraphale immediately asks a demon out for lunch.
We all know how Aziraphale’s hearteyes are out of this freakin’ world throughout the entire show - but while Crowley may be less outwardly obvious about his affections, we also know how he couldn’t bear to leave Earth and head to Alpha Centauri without his best friend. They’re obviously aware of each other’s feelings (”We could go off together!” / “Go off… together? … I don’t even like you!!” / “You doooooooooo”) but while Aziraphale pines via hearteyes and interrupted compliments, Crowley pines and shows his care through saying nothing to rush the poor angel until the timing is truly critical. He’s just giving him the space he needs. Six thousand years of space.
My point is, removing the context of the plot does not fundamentally alter the core issues of the overall story. Why? Because their developing relationship IS the context of the story. Their love is the framing device for the entirety of Good Omens. It’s the start and end of it. Their story (and this video) begin and end with a garden - and they’re the only couple in the garden, because Adam and Eve already left. (There’s even a shot where Adam and Eve are together in the distance, and Aziraphale and Crowley are together in the foreground, drawing a romantic parallel within the first minute of the show.)
Also for the record, here’s some fun things I noticed while editing:
On the wall in Eden, Crowley first locates Aziraphale by smelling with his lil snake tongue. Of course he knows what Aziraphale smells like, that’s how he found him in the first place. (And despite being a demon, he doesn’t seem all that bothered by the smell. Likewise, Aziraphale doesn’t mind the devilish aroma at all.)
Secondary to that point: It starts to rain and Crowley just SHUFFLES UP and Aziraphale holds up his wing without even looking to see why he’s getting closer, and Crowley didn’t even ask for shelter, it just happened, and I CANNOT EVEn deal with the strength of their instant connection ;~;
In the ‘60s, when Crowley gets in his car and offers to drop Aziraphale anywhere he wants to go, he doesn’t mean the bookshop. Aziraphale teleported into the car (in the show you can see the car is empty as Crowley approaches, then there’s this little magical noise and Aziraphale has arrived), and Aziraphale says “I work in Soho; I hear things”. Perhaps Soho is where Crowley’s planning his heist, but people would only talk about it there if that’s where he’s meeting people too. So they’re likely already in Soho. When Crowley asks to drop Aziraphale anywhere, he doesn’t mean “I’ll take you home”, he means “let’s go out somewhere together”. Which is why Aziraphale starts suggesting date ideas for “someday” and then claims Crowley’s moving too fast. (Hint: He’s not complaining about the speed of the car. He never was. Hence me making this video. Whatever you think they’re talking about, at any point, they’re actually secretly talking about how much they love each other.)
I’m sorry. I’m sorry but the restrained fearful longing in Az transposed against the sharp, guarded desire in Crowley is going to be the death of me. This moment encapsulates so much of their dynamic, where Az was like “Maybe someday we can go on a casual date and ignore that it’s a date” and Crowley is like “Not to be dramatic but I will go however far however fast its up to you but also you should come home with me tonight, move in with me, and/or run away with me to another galaxy where we’ll be together forever” And poor Az is like “blease I just realized I’m in love with you I need another 1000 years to process this”
Look at the third gif.
Look at the swallowing.
It’s the same expression. When at the park he repeats “Go off together?”. When in the street Crowley names Alpha Centauri and Azi looks up into the sky.
HE ACTUALLY PONDERS.
He’s conflicted, doubting. HE’S TEMPTED.
The upside of being a fallen angel, to Crowley, is that he doesn’t have to doubt anymore for the future, the hurt is in the past.
But Azi? Tied.
TIED TO HEAVEN.
Actually, in the kidnapping scene, Crowley is hit and numbed, and dragged away. But he’s FREE.
In Heaven, Azi is tied up, bound to his place. Azi IS A SLAVE TO HEAVEN.
In this scene, Crowley is not simply offering love, companionship, affection.
