Promised to be “gentle, quiet, and romantic,” Season Two of Good Omens is anything but. Good Omens is a series by Amazon Prime Studios based on the book by Neil Gaiman and Sir Terry Pratchett. Season One faithfully followed the book’s plot: The angel Aziraphale and the demon Crowley, who have been on Earth since Eden, decide to work together in an attempt to prevent Armageddon and the end of times. Season Two came out earlier this summer, much to the anticipation of loyal fans. It goes into entirely unknown plot territory with a direct focus on the emotional and tumultuous relationship between the two main characters. Opposed to the implied connections from season one, it cements the unquestionable queer status of the show.
Besides being an exquisite representation of Gaiman’s dry wit and humor, the show is a compelling example of queer representation. Genderqueer characters appear casually in both seasons, primarily through the presence of angels and demons that don’t conform to human notions of binary genders. In Season Two, queer romantic relationships are more prominent, especially the one developing between Crowley and Aziraphale. In addition to feeding our undying need for new queer characters to go feral for, Good Omens is a charming watch for anyone who appreciates satire (especially biblical in nature) and devastating cliffhangers (Neil Gaiman will pay for how season two ended!). The show also encourages media with casual queer representation, which, though increasingly present in popular culture, is still rare and should be appreciated. On a final note—don’t forget to support your favorite writers! Everyone should watch Good Omens to spur the Amazon conglomerate to renew it for a third season to spare Good Omens from falling victim to the painful pattern of queer cancellations.
Sasha Jayne is a freshman in the College studying various languages towards a currently unknown endpoint.