It was once again noticeable that the third part of Good Omens began by diverting away from the mechanics of the plot, the onwards progression to the end of everything, or tomorrow as the episode’s final image firmly indicated. But you can hardly call it a tangent when the pre-credits sequence actually lasted slightly longer than half the show. An obtuse angle?
Either way, what we got was a ton of material only a tiny bit of which – the Voice of God asking the Angel Aziraphale where his flaming sword is, last seen as a footnote about an unusual edition of the Bible – actually came from the book, whilst all the rest was about the slowly developing relationship between the Angel and the Demon throughout many different historical settings and producing the ‘Arrangement’ that prevails today. It was astonishingly long but, unlikle episode 2, didn’t feel as if it was delaying out getting back into the swing of things because, firstly, it was incredibly entertaining and I just love seeing Michael Sheen playing Aziraphale, and secondly because it all went to buttressing and building.
Atr the end of the day, you’re asking us to accept that an Angel and a Demon – once but no longer identical creatures of God’s devising – are working together and any residual doubts as to the credibility of that notion were well and truly dispelled.
The other half of the episode, called the plot, sees Aziraphale try to divert the War only to discover his side wants it to happen come what may, fall out with Crowley over working together when they so obviously have nothing in common but a like for the Earth where it is and the desire to keep it that way, both call in their private army of secret operatives, namely Sergeant Shadwell and Private Pulsifer, and Adam Young (an Antichrist) meet Anathema Device and become overwhelmed by New Age philosophy, resulting in something extremely odd happening to a Nuclear Power Station.
This is a hard series to write about, principally because it’s very good.