Anyone Remember The Robin-Hood Episode Of Doctor Who? I Thought Of A Rewrite.

Anyone remember the Robin-Hood episode of Doctor Who? I thought of a rewrite.

The whole time I was watching it I was thinking “why is The Doctor so annoyed by this guy…” and I came to the conclusion that the reason The Doctor knew that guy was fake was because The Doctor is the one who inspired Robinhood stories, and therefore the other guy wasn’t real, but given the time period it wasn’t someone cosplaying for fun.

I never finished the episode cuz it got too cringy and it didn’t feel like The Doctor would spend the the entire time arguing with this guy. I know he’s been kinda jealous before, or at least snarky jealous — that one time with the king of France — but he’s never spent the ENTIRE FUCKING STORY JUST BICKERING WITH SOME RANDO HE THINKS IS TROLLING HIM

It maketh no sense

Omg it’s so true… Eden Crowley is much more Richard II and pre-fall is absolutely Campbell

all those years of people imagining pre-fall crowley as richard II only for it to turn out that he was actually just campell from takin over the asylum...we were so blind....

That but about the guard dog… ooo that hits hard, I am not okay.

One thing I love about Crowley --never stated, but consistently shown-- is that he is, at heart, an engineer.

I have a few different things to say about that. Let's unpack them.

As the Unnamed Angel, we see his designs for the Pillars of Creation are millions of pages long, comprised of cramped text, footnotes, diagrams, schematics etc. It's very...Renaissance polymath, in the way it implies a particular intersection between artist and inventor.

Also: in the naked romanticism with which he views his stars.

We already knew he made stars, but in s2 we learn that he did NOT sculpt them one-at-a-time. He designed a nebula ("a star factory," he says) that will form several thousand young stars and proto-planets, and all --beyond getting the 'factory' running-- without him lifting a finger. We also learn that these young stars and proto-planets stand in contrast to those made by other angels, which are going to come 'pre-aged.'

...I'm reminded of Hastur and Ligur's approach to temptations. Damning one human soul at a time, devoting singular attention to it over the course of years or decades, and how that stands in contrast to Crowley's reliance on, quote, 'knock-on effects.'

Ligur: It's not exactly...craftsmanship. Crowley: Head office don't seem to mind. They love me down there.

Hm.

I'm also reminded of the M25.

The M25 may not be as grand as a nebula (sentences you only say in GOmens fandom...), but LIKE his nebula it's an intricate, self-sustaining engine that does Crowley's work for him, many times over. Again.

That's some pretty neat characterization --and so is the indication of Crowley's disinterest in victimizing anyone tempting individual people. It takes a considerable amount of planning and effort (and creeping about in wellies), but in accordance with his design the M25 generates a constant stream of low-grade evil on a gigantic scale.

Cumulatively gigantic, that is. Individually? Negligible.

But no other demon understands human nature well enough to parse that one million ticked-off motorists are not, in any meaningful way, actually equivalent to one dictator, or one mass-murderer, or even one little influential regressive. That's the trick of it. Crowley gets Hell's approval (which he NEEDS to survive, and to maintain the degree of freedom he's eked out for himself while surviving), and at the same time ensures that any actual ~Evil influence~ is spread nice and thin.

It's some clever machinery. And he knows it, too:

The Unnamed Angel and Crowley are both proud of their ideas.

(musings on professional pride, Leonardo da Vinci, the crank handle, and 'the point to which Crowley loves Aziraphale' under the cut)

In the 1970's Crowley gives a presentation on the M25, projector and all, to a room full of increasingly impatient demons. Maybe the presentation was work-ordered; the 'can I hear a WAHOO?' definitely wasn't.

Before the Beginning, the Unnamed Angel can barely contain his excitement about his nebula. Aziraphale manages a baffled-but-polite, "....That's nice...! :)"

11 years ago, Hastur and Ligur want to 'tell the deeds of the day,' and Crowley smiles to himself because (according to the script-book) he knows he has 'the best one.'

(Naturally, his 'deed' has nothing to do with tempting anybody, and everything to do with setting up a human-powered Rube-Goldberg machine of petty annoyance. Oodles of 'Evil' generated; very little harm done.)

They don't get it, of course. That's also consistent.

Nobody ever knows what the hell he's talking about.

It didn't make it on-screen, but, in both the novel AND the script-book, Crowley was friends with Leonardo da Vinci. The quintessential Renaissance polymath. That's where he got his drawing of the Mona Lisa --they're getting very drunk together, and Crowley picks up the 'most beautiful' of the preliminary sketches. He wants to buy it. Leonardo agrees almost off-the-cuff, very casual, because they're friends, and because he has bigger fish to fry than haggling over a doodle:

He goes, "Now, explain this helicopter thingie again, will you?" Because he's an engineer, too.

(It is 1519 at the latest, in this scene. Why the FUCK would Crowley know about helicopters, and be able to explain them, comprehensively, to Leonardo da Vinci?

...Well. I choose to believe he got bored one day and worked it out. Look, if you know how to build a nebula, you can probably handle aerodynamics. And anyway, I think it's telling that this is his idea of shooting the shit. 'A drunken mind speaks a sober heart,' and all. He probably babbled about Aziraphale enough to make poor Leo sick)

Leonardo da Vinci is the only person Crowley has any keepsakes or mementos of, apart from Aziraphale.

Think about that, though. Aziraphale's bookshop is bursting with letters, paintings, busts, and personalized signatures memorializing all the humans he's known and befriended over 6000 years (indeed: Aziraphale has living human friends up and down Whickber Street. He's part of a community).

Crowley doesn't have any of that. It's just the stone albatross from the Church (for pining), the infamous gay sex statue (for spicy pining), the houseplants (for roleplaying his deepest trauma over and over, as one does), and this one piece of artwork, inscribed, "To my friend Anthony from your friend Leo da V."

To me, at least, that suggests a level of attachment that seems to be rare for Crowley.

...Maybe he liked having someone to talk shop with? Someone who was interested? Someone engaged enough to ask questions when they didn't immediately understand?

...Anyway.

There's also the matter of the crank handle.

This thing:

This is one of the subtler changes from the book. In the book, Crowley knows Satan is coming and, desperate, arms himself with a tire iron. It's the best he can do. He's not Aziraphale; he wasn't made to wield a flaming sword.

The show, IMO, improves on this considerably. Now he, like Aziraphale, gets to face annihilation with what he was made for in his hand. And it's not a weapon, not even an improvised one like the tire iron.

He made stars with it.

[both gifs by @fuckyeahgoodomens]

If you Google 'crank handle,' you'll get variations on this:

Crank handles have been around for centuries. Consisting of a mechanical arm that's connected to a perpendicular rotating shaft, they are designed to convert circular motion into rotary or reciprocating motion.

Which is to say they're one of the 'simple machines,' like a lever or a pulley; the bread and butter of engineering. You'll also get a list of uses for a crank handle, archaic and modern. Among them, cranking up the engine of an old-fashioned car... say, a 1933 Bentley. That's what Crowley has been using his for, lately. But he's had it since he was an angel and he's still, it seems, very capable of it's angelic applications.

I know everyone has already said this, but: I REALLY LIKE that when he needs to channel the heights of his power, he does so not with a weapon but with a tool. Practically with a little handheld metaphor for ingenuity, actually. One from long-lost days when he could make beautiful things.

(And he loved it. Still loves it, I'd say --he incorporated it into the Bentley, didn't he?)

Let Aziraphale rock up to the apocalypse with a weapon: he has his own compelling thematic reasons to do exactly that. Crowley's story is different, and fighting isn't the only way to express defiance. And if you've been condemned as a demon and assumed to be destructive by your very nature, what better way than this?

He made stars. They didn't manage to take that from him.

Neither Crowley nor Aziraphale are fighters, really --they have no intention of fighting in any war. They'll annoy everyone until there's no war to fight in, for a start. But between the two, if one must be, then that one is Aziraphale. Principality of the Earth, Guardian of the Eastern Gate, Wielder of the Flaming Sword... all that stuff. Even if he'd prefer not to, it's very clear that Aziraphale can rise to the occasion, if he must.

Crowley was not that kind of angel. He wasn't a Principality. He has no sword.

...And yet.

It's Crowley who protects. He's the one who paces, who stands guard, who circles Aziraphale and glares out at the world, just daring anyone else to come near.

In light of everything else I've said here, I think that's interesting.

Obviously part of it is that Aziraphale enjoys it and, you know, good for him. He's living his best life, no doubt no doubt. But what about Crowley? What's driving that behavior, really?

Have you heard the phrase, 'loved to the point of invention'? Well, what if 'the point of invention' was where you started? What if where you end up involves glaring out at the world, just daring anyone else to come near? What is that, in relation to the bright-eyed thing you used to be?

What do we name the point to which Crowley loves Aziraphale?

...Thinking about how an excitable angel with three million pages of star design he wants to tell you all about...becomes a guard dog. Is all.

crowley used the metal tool in season 1 to start time, and we learn that he's used it first to start space. to create the stars -- he still remembers how. he still remembers all of heaven's passwords: in the book crowley is described as an optimist because he has the "utter surety... that the universe would look after him". not god, but the universe. and of course he does: he helped create it and he's looking after it, too.

think about it: aziraphale had a sword, but crowley is about to face satan who wants to destroy the world, and crowley's only weapon is a tool of creation

I’ve added more… instead of listing them all by hand I’ll just send screenshots.

I haven’t checked if all of them work just yet, nor have I organised them, but I just spent all day at an arcade so I can learn to drive, and I am tired, so I’m off to read some fanfic and cry even more if I can

I’ve made a good omens playlist for crying, it consists of:

- a violin cover of Arcade

- Two by Sleeping at Last

- Can’t help falling in love by Haley reinheart

- CMWYL by Lovejoy

- Somewhere out there from Community

- Final and Good For You from Dear Evan Hansen

- the good omens opening title, because of course

- Somebody To Love, Good-old fashioned Lover-Boy, and Under Pressure by Queen

- Life on Mars? By David Bowie

- Look who’s inside again by Bo Burnham

- Lemon Boy by Cavetown

- Empty chairs at empty tables from les miserables (No I can’t spell)

- I dreamed a dream (specifically the Lucifer one with Tom Ellis)

- This House, Departures, and Beeswing by Grace Petrie

- Don’t let the sun go down on me and Sorry seems to be the hardest word from Rocketman

- Without You from RENT

- in case you don’t live forever by Ben Platt

- Why from Tick… Tick… BOOM

- A thousand years (also as a violin cover, but it doesn’t have to be)

- Scum by Lovejoy again

And finally

- Losing Face by Wilbur

Mood…

thinking about the fact that from a human’s perspective crowley is just some skinny middle aged goth dude with dyed red hair and a face tattoo who drives an almost hundred year old car to his complete opposite aesthetic boyfriend’s bookshop nearly every day. why? because he can, that’s why.