Bruna. 28. Bisexual. Brazil. I've got a film degree.
Sometimes I post mature content, so I'll ask to only follow me if you're 18+.
This is a multifandom blog. Expect lots of Hannibal and Star Trek. Also Vampire Chronicles. Lots of movies. There will be on occasion rock bands and singers. Also books and TV shows and random stuff.
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Richard Siken - Driving, Not Washing / Killing Eve - season 2, episode 8 / Suede - Europe Is Our Playground / Good Omens - episode 4 / Donna Tartt - The Goldfinch / Hannibal - season 3 episode 4 / Donna Tartt - The Secret History / The Cure - Just Like Heaven /
Pierre Auguste Cot - The Storm (1880) / Maxine Kumin - Running Away Together
Something that’s been very interesting to me, in this new wave of post-miniseries Good Omens fandom, is the apparent fannish consensus that Crowley is, in fact, bad at his job. That he’s actually quite nice. That he’s been skating by hiding his general goodness from hell by taking credit for human evil and doling out a smattering of tiny benign inconveniences that he calls bad.
I get the urge towards that headcanon, and I do think the Crowley in the miniseries comes off as nicer than the one in the book. (I think miniseries Crowley and Aziraphale are both a little nicer, a little more toothless, than the versions of themselves in the book.) But maybe it’s because I was a book fan first, or maybe it’s because I just find him infinitely more interesting this way–I think Crowley, even show!Crowley, has the capacity to be very good at his job of sowing evil. And I think that matters to the story as a whole.
A demon’s job on Earth, and specifically Crowley’s job on Earth, isn’t to make people suffer. It’s to make people sin. And the handful of ‘evil’ things we see Crowley do over the course of the series are effective at that, even if the show itself doesn’t explore them a lot.
Take the cell phone network thing, for instance. This gets a paragraph in the book that’s largely brushed off in the conversation with Hastur and Ligur, and I think it’s really telling:
What could he tell them? That twenty thousand people got bloody furious? That you could hear the arteries clanging shut all across the city? And that then they went back and took it out on their secretaries or traffic wardens or whatever, and they took it out on other people? In all kinds of vindictive little ways which, and here was the good bit, they thought up themselves. For the rest of the day. The pass-along effects were incalculable. Thousands and thousands of souls all got a faint patina of tarnish, and you hardly had to lift a finger.
In essence, without any great expenditure of effort (look, I’d never say Crowley isn’t slothful, but that just makes him efficient), he’s managed to put half of London in a mental and emotional state that Crowley knows will make them more inclined to sin. He’s given twenty thousand or a hundred thousand or half a million people a Bad Day. Which, okay, it’s just a bad day–but bad days are exhausting. Bad days make you snap, make you fail at things, make you feel guiltier and more stressed out in the aftermath when you wake up the next day, makes everything a little worse. Bad days matter.
Maybe it’s because I’m a believer in the ripple effect of small kindnesses, and that means I have to believe in its opposite. Maybe it’s just that I, personally, have had enough days that were bad enough that a downed cell network (or an angry coworker because of a downed cell network) would honestly have mattered. But somebody who deliberately moves through the world doing their best to make everyone’s lives harder, with the aim of encouraging everybody around them to be just a little crueler, just a little angrier, just a little less empathetic–you know what, yes. I do call that successful evil.
It’s subtle, is the thing. That’s why Hastur and Ligur don’t get it, don’t approve of it. Not because Crowley isn’t good at his job, but because we’ve seen from the beginning that Hastur and Ligur are extremely out of touch with humanity and the modern world and just plain aren’t smart enough to get it. It’s a strategy that relies on understanding how humans work, what our buttons are and how to press them. It’s also a strategy that’s remarkably advanced in terms of free will. Hastur and Ligur deliberately tempt and coerce and entrap individuals into sinning, but Crowley never even gets close. We never see him say to a single person, ‘hey, I’ve got an idea for you, why don’t you go do this bad thing?’ He sets up conditions to encourage humans to actually do the bad things they’re already thinking of themselves. He creates a situation and opens it up to the results of free choice. Every single thing a person does after Crowley’s messed with them is their own decision, without any demonic coercion to blame for any of it.
You see it again in the paintball match. “They wanted real guns, I gave them what they wanted.” In this case, Crowley didn’t need to irritate anybody into wanting to do evil–the desire to shoot and hurt and maybe even kill their own coworkers was already present in every combatant on that paintball field. Crowley just so happened to be there at exactly the right time to give them the opportunity to turn that fleeting, kind-of-bad-but-never-acted-upon desire into real, concrete, attempted murder. Sure, nobody died–where would be the fun in a pile of corpses? But now forty-odd people who may never have committed a real act of violence in their entire lives, caught in a moment of weakness with real live weapons in their hands, will get to spend the rest of their lives knowing that given the opportunity and the tiniest smidgen of plausible deniability, they are absolutely the sort of people who could and would kill another human being they see every single day over a string of petty annoyances.
Crowley understands the path between bad thought and evil action. He knows it gets shorter when somebody is upset or irritated, and that it gets shorter when people practice turning one into the other. He understands that sometimes, removing a couple of practical obstacles is the only nudge a person needs–no demonic pressure or circumvention of free will required.
I love this interpretation, because I love the idea that Crowley, who’s been living on Earth for six thousand years, actually gets people in a way no other demon can. I love the idea that Crowley, the very first tempter, who was there when free will was invented, understands how it works and how to use it better than maybe anyone else. And I really love the idea that Crowley our hero, who loves Aziraphale and saves the world, isn’t necessarily a good guy.
There’s a narrative fandom’s been telling that, at its core, is centered around the idea that Crowley is good, and loves and cares and is nice, and always has been. Heaven and its rigid ideas of Right and Wrong is itself the bad thing. Crowley is too good for Heaven, and was punished for it, but under all the angst and pain and feelings of hurt and betrayal, he’s the best of all of them after all.
That’s a compelling story. There’s a reason we keep telling it. The conflict between kindness and Moral Authority, the idea that maybe the people in charge are the ones who’re wrong and the people they’ve rejected are both victim and hero all at once–yeah. There’s a lot there to connect with, and I wouldn’t want to take it away from anyone. But the compelling story I want, for me, is different.
I look at Crowley and I want a story about someone who absolutely has the capacity for cruelty and disseminating evil into the world. Somebody who’s actually really skilled at it, even if all he does is create opportunities, and humans themselves just keep living down to and even surpassing his expectations. Somebody who enjoys it, even. Maybe he was unfairly labeled and tossed out of heaven to begin with, but he’s embraced what he was given. He’s thrived. He is, legitimately, a bad person.
And he tries to save the world anyway.
He loves Aziraphale. He helps save the entire world. Scared and desperate and determined and devoted, he drives through a wall of fire for the sake of something other than himself. He likes humans, their cleverness, their complexities, the talent they have for doing the same sort of evil he does himself, the talent they have for doing the exact opposite. He cares.
It’s not a story about someone who was always secretly good even though they tried to convince the whole world and themself that they weren’t. It’s a story about someone who, despite being legitimately bad in so many ways, still has the capacity to be good anyway. It’s not about redemption, or about what Heaven thinks or judges or wants. It’s about free will. However terrible you are or were or have the ability to be, you can still choose to do a good thing. You can still love. You can still be loved in return.
And I think that matters.
Good Omens owes quite a lot to The Screwtape Letters and smattering of other Screwtape writing that CS Lewis did, and this is one of the things.
all of the above analysis is wonderful and is very much borne out by the book, indeed. i think a lot of this does get lost in the miniseries, in some ways, because it’s not really said quite as straight out as it is in the text above. and the things we see Crowley doing do mostly seem like pranks, don’t they? low-grade mischief, at worst. he walks on the grass. he speeds in London (and annoys his spouse friend). he pushes Zira against the wall but Zira never looks scared. the mobile phone thing and the highway thing are both played for the laugh of “Crowley accidentally inconveniences himself.” none of it seems as evil or wicked as it is.
but Crowley definitely is… he is that guy who will go out of his way to make your day a little bit worse, but worse in a measurable way, the way that sticks with you and encourages your mood to sour, and to then “pay forward” that sour mood. to make everyone’s day worse. (i bet he’s an utter nightmare as a customer in a store or restaurant, for one thing.) he definitely recognizes the inequalities in a way which Aziraphale, whether a true believer or just spouting the party position, doesn’t. but that doesn’t mean he’ll stop doing what he does, either. he’s not bad at his job; he’s very, very good, in a way so subtle that it can be hard to recognize.
but indeed the whole point of it is free will. he might not be a complete bastard – he’s a little bit good, or has the capability to be. and Aziraphale might not be entirely good – he’s a little bit of a bastard, and has the capability to be. they’ve both, because of humanity, become more human. they are both embodying the malignancy and grace mentioned in that first paragraph, just as humans do.
Lou […] is having dinner at a restaurant in South Kensington. He is with David Bowie.
“He says he wants us to go over,” Howard tells us.
Dinner with Lou and the Thin White Duke! Seems a damned attractive proposition. Howard notes our enthusiasm and agrees to drive us to the restaurant - the Chelsea Rendezvous in Sydney Street.
“They’ll be on the pudding by the time we gets there,” Giovanni Dadomo reflects.
Lou and David are in a huddle together at the head of their table when we arrive.
Lou has his arm around Davids shoulder. David is smiling. Lou is laughing, slapping the table. David seems content to play a supporting role. Lou talks. David listens, hands cupped together, elbows on the table in front of him.
We are shown to our own table. Howard presents himself to Lou, tells him that Giovanni and I have arrived.
“Lou says to go over,” Howard tells us.
Giovanni leads the way. Lou takes him firmly by the hand.
Bowie, meanwhile, looks up at me.
“Allan,” he says, extending a hand.
“David,” I say, taking it.
“Nice to see you,” says David. “How are you?”
Bowie’s charm is overwhelming.
“Allan,” roars Lou.
“Lou,” I reply, less raucously.
He clasps my hand, nearly breaking a finger in the process. He yanks me across the table. I almost end up sprawled in Bowie’s lap. I have an elbow in the remnants of Lou’s dinner.
“Do you know Allan?” Lou asks Bowie.
“We meet occasionally,” he tells Lou.
“Did you see the show tonight?” asks Lou.
“I’m still recovering,” I tell him.
“Good,” says Lou. “What did you think of it?”
“I felt like I was been given a good pistol-whipping.”
“You probably deserved it,” Lou snaps.
I decide to leave them to their supper.
“Yeah,” says Lou. “Go.”
I go. Lou turns back to David. They get their heads down, the old pals’ act well under way.
Lou gets up and waddles down the restaurant to talk to some people at a table adjacent to ours. He deposits some dirty dishes on the floor, grabs a chair for Bowie who’s followed him. There is a considerable amount of mutual backslapping, good times remembered. They exchange dates; contemplating some joint project in the near future, it appears.
Lou orders Irish coffee.
It is delivered.
Lou and David raise their glasses in a toast.
“To friends.”
It’s a touching scene.
They return to their original places, resume their conversation.
Five minutes later, the place is in uproar.
Bowie has said something to Lou. Lou is not entirely enamoured of the comment. He fetches David a smart crack about the head; fists are flying. Most of them are Lou and they’re being aimed in violence at Bowie. David ducks, arms flying up above his head. Lou is on his feet, screaming furiously at Bowie, still lashing out.
“Don’t you EVER say that to me!” he bellows, hysterically, “Don’t you EVER fucking say that to ME!”
About nine people pile on Lou, wrestle him away from Bowie, drag him away from the table. There’s an arm around his throat. He continues to spit insults at Bowie, who sits at the table staring impassively, clearly hoping Lou will go away. Lou shrugs off his minders (or are they Bowie’s?). There’s a terrible silence. People are watching open-mouthed in credulity. Howard Harding looks as if he might die.
Lou sits down next to Bowie. They embrace. There is a massive sigh of relief. They kiss and make up. We wonder what on earth provoked the argument and Lou’s fit of violence.
“Perhaps,” suggests Giovanni Dadomo, “David tried to pinch Lou’s Bakewell tart.”
Meals are resumed. More wine is brought to the tables.
It looks as if the tiff has blown over.
The next thing I know, Lou is dragging Bowie across the table by the front of his shirt and fetching him a few more smart slaps across the face. The place explodes in chaos again. Whatever David said to precipitate the first frank exchange of conflicting opinions, he’s obviously repeated. The fool. Lou is beside himself with rage and rains slaps down upon Bowie’s head before anyone can drag him off.
“I told you NEVER to say that,” Lou screeches, fetching the hapless Bowie another backhander; another furry of blows follows in hot pursuit. Lou is batting David about the top of his head. David cowers. Lou looks like an irate father boxing the ears of a particularly recalcitrant child for pissing in his slippers. He gets in a few more whacks before the minders haul him away from Bowie. He will not calm down. He tussles and struggles, tries to launch himself again at Bowie.
The silence that follows is ghastly.
Lou’s party decide to leave. Lou is escorted from the restaurant by an especially large fellow. He has his arm around Lou’s shoulders, less in support than restraint. Lou has a look of ferocious blankness, his face set in a fierce scowl. His eyes look dead. He leaves with his party.
“Good Lord - what happened?” asks Howard Harding.
Bowie is left at the head of the table. It’s a desolate scene. The table is covered with the debris of the meal and overturned wine bottles.
He is joined by two friends (a man and a woman; they are never successfully identified). Bowie sits with his head in his hands. He appears to be sobbing. He seems to be trying to explain what happened between him and Lou.
I decided to play the fearless reporter and wander over.
“I’ve just come to say goodnight,” I say.
“Oh,” says Bowie. “Why don’t you join us?”
“There isn’t a chair,” I tell him.
“Then sit on the table,” he replies, a little testily.
I sit on the table.
I tell him that I’m sorry that his reunion with Lou seems to have ended so disastrously.
“I couldn’t hear what was going on … Lou seemed very upset …” I mutter.
“Yes,” says Bowie, wearily. He seems close to tears.
“It was nothing. Its all over,” says his female companion.
“If it hadn’t been for the heavies, they would have bloodied each others noses and it would have been all over and they’d have been all right,” his companion says.
The idea of Bowie bloodying anyone’s nose seems remote.
“Are you a reporter?” someone asks.
“Yes,” I admit. “But don’t worry - you won’t see any of this on the front page of the Daily Express in the morning.”
This is intended as a feeble joke. No one is amused.
“You’d better go,” I am told.
“David’s just invited me to stay,” I protest quietly. “I was just wondering what happened.”
This does it.
Bowie leaps to his feet.
“Fuck off,” he shouts. He means me. “If you want to know what happened, you’ll have to ask Lou Reed. Don’t bother me with your fucking questions. Ask fucking Lou. He knows what fucking happened. He’ll tell you.”
“But he’s already gone,” I remind Bowie.
Bowie, angry, with tears in his eyes, turns on me. He grabs me by the lapels and shakes me. I fear he might rip the jacket (recently worn by Mike Oldfield on stage in Berlin, it is of considerable sentimental value).
“Hey,” I protest eloquently.
“Just fuck off,” Bowie swears, shoving me back. “You’re a journalist - go and fucking find him. Ask him what happened. I don’t know.” He pushes me again, turns away, knocking over a chair. I am grabbed from behind and dragged away. I return to my table.
“I think you’ve upset the Thin White Duke,” remarks Giovanni Dadomo.
“I think perhaps I have,” I reply.
Bowie sits down again. Then he stands up, furniture starts to fly.
“Aaaaah fuck,” he declares. He pushes his way down the restaurant, chairs are kicked out of the way. He begins to climb the stairs to the street. Most of the steps on the stairway are decorated with potted plants and small shrubs, and a palm tree or two. Bowie smashes most of them on his way out. He kicks a few, up-ends the others. There is a most terrible mess on the stairs.
The remaining guests are speechless at this further outburst. The waiters look on, astonished. We share their amazement.
The damage, it turns out, is not expensive. I discover later in the week from the manager of the Chelsea Rendezvous that Bowie has sent a bodyguard to the restaurant to pay for replacement of the demolished plants; a cost of about £60.
The cause of the altercation remains, however, obscure. Lou flew out early the next morning to Dublin, cancelling all engagements.
The most popular explanation suggests that Bowie had been discussing with Lou the possibility of producing his next album.
Bowie, though, is said to have demanded one thing before committing himself to the project: that Lou clean himself up, and get himself together.
If Lou didn’t clean up his act, David would refuse to work with him.
Lou, perhaps, was outraged at the suggestion that he was too untogether, and replied by belting David. The bully!
A further irony is added to the tale the following morning when it is announced that Bowie’s new single is called Boys Keep Swinging.
Oh, how we laughed.
It should be noted that this verbal bantering also continued into the night back at the hotel, with Bowie in the hallway demanding that Reed come out and fight like a man. Eventually it all quieted down as Lou never reappeared to continue the fight, and was most likely already fast asleep.
"
—
FIGHT OF THE WEEK - LOU BOPS BOWIE Allan Jones, Melody Maker, April 21, 1979
“The secret to Q was the Q and Picard relationship. Q was in love with Picard, for some reason. That was the underpinning of the relationship, which was why, when he came to Deep Space Nine, he wasn’t as effective a character. The weird love affair that he had going with Jean-Luc made that whole thing work, and it made ‘Tapestry’ work, and ultimately it made ‘All Good Things…’ work.” – Ron Moore
also, does anyone have a link to the ron moore quote?
@lionowlonao3 I hope so too! I would love to see them together in a scene again.
And I first found this quote in the Q (Q, the character, under the Background information section) Memory Alpha page, but ever since someone actually posted a video of Ron Moore saying this (bless them):
Tumblr isn’t letting me edit this post, but here’s also Q’s page on Memory Alpha:
on mobile the video didn’t initially display so here down below is a link to youtube in case the embedded video isn’t displaying for anyone else… (who is surprised? tumblr you suck)