The way Crowley swings around Aziraphale on the bus, the way the Bentley drives around the bookshop...Crowely is in orbit around Aziraphale. What does a planet do when its star vanishes? Does it go rogue? I remember when I first learned about rogue planets and saw an artist's rendering of one. It was beautiful. It was just out there in space, wandering, other stars in the distance but there were none it belonged to. There was a tremendous feeling of wrongness, loneliness, confusion, abandonment, and hopelessness.

OMG the credits! With Aziraphale's creepy smile. They were on the wrong side of each other!

There's a passage in the Bible (I think it's in Matthew?) where Jesus is telling a parable about how in the end of days, God will sit upon his throne and sort the people into good and evil the way a shepherd sorts goats and sheep, and the sheep will go to his right (to Heaven), and the goats to his left (to hell). I find this particularly interesting because Crowley seems to be rather fond of goats.

"The writing is 10/10... The acting is 11/10!" No truer words have ever been spoken!! Thank you for this!!!

What I love about Good Omens is that there isn't much that doesn't feel deliberate. There's so much symbolism and so many interesting details to unpack. It can be easy to watch this series casually and just think of it as a quirky fantasy comedy that doesn't take itself too seriously, but dig a little deeper and you realize there's so much more. Analyzing Good Omens is incredibly satisfying, more so than a lot of other shows I've gotten invested in over the years.

It‘s interesting too that when Crowley leaves after the kiss and the Metatron goes into the bookshop, Azirahale starts walking around, moving super much, turning back and forth, while - as we see later - Crowley stands still like a statue at the Bentley.

There is so much to digest in the show. Each rewatching you see something new. Actions taken by characters who, while on screen, may not be drawing your attention, but are doing something important. Or, like the left and right dichotomy, they are communicating emotional depth and meaning that we don't even realize. Crowley constantly evolving, while Aziraphale remains rooted in the past. Traditional masculinity vs modern masculinity. The corporate organizational structure of heaven, concerned with implementing the predetermined plan handed down from the boss and "winning", versus the monarchic organization of hell, with mutinous attempts to gain power and status, while the "serfs" are destroyed or punished on the whims of the nobility. Both operating with an absent CEO/king. Neither allowing natural curiosity or creativity. Both crushing the powerless inside their own organizations and neither functioning to the benefit of the human population, who in their own ways, they are meant to service. You could even look at heaven as an American style political structure and hell as a bastardization of the English monarchy. They are all intentional choices from the actors, the writers, or the director and create an intricate tapestry, on which every inch is a statement, a question, a joke, all of it intent on making you think and feel. To quote Pollution, "It's just so damn beautiful!"

I've watched both seasons all the way through three times and I NEVER NOTICED all those moments you showed from the final two episodes where they are standing in their reversed positions! (At the ball, during the Gabriel/Beelzebub reveal, etc) The amount of attention to detail that went into this show is astonishing.

This was absolutely fantastic! What a fantastic analysis and I absolutely appreciate the effort and the investigation into the meanings here. This is probably the best analysis I’ve seen on Aziraphale and Crowley. I loved this! Thank you so much for this information.

7:21 in the bandstand scene, not only are crowley and aziraphale on the wrong sides of each other, but crowley is the one already in shot and aziraphale moves to him. the attention to detail in this show is fantastic

Oh this was brilliant, I knew about the left and right symbolism but this takes it to a whole other level. For instances where they're facing each other, I always take the camera's position into consideration, with some leeway given to how the actors need to be coordinated so the scene can function. And I never thought about how much Crowley _moves_ around Aziraphale before, one could attribute that to how a snake needs to coil around things in order to actually move. I already equate his changing appearances to a snake shedding it's skin, I just love pointing at Crowley details and going 'snek'. Speaking of the visual cues, I wonder if you've noticed the colour grading in season 2, particularly in episode 4? Aziraphale's colours are yellow and blue, Crowley's colours are black and red, Heaven's colour is white, obviously, and Hell's colour is green. The 1941 flashback happens directly after Aziraphale realizes he's in love with Crowley, and it's the first time- to my knowledge- that they've ever done anything _fun,_ no jobs from their respective offices, no debates of morality, no saving Aziraphale from something silly, it's just _them_ having a night. And the colour grading, the set design, and the costuming, are all awash in yellow, blue, red, and black. It's as if, for a short time anyway, Heaven and Hell don't exist, only they do. I would also suggest taking a closer look at Crowley's tie. You can only see it when he sits down and opens his jacket, but I see it as another conscious detail from the costuming department.

Simply amazing.....and in almost all of the S2 promos that they got done prior to the strike, David especially always uses ying and yang to describe the characters. And another random thought I noticed the other day.....Mr. Brown. Did the demons kill him? Seems like it was implied that they did. Neil has stated that neither Aziraphale or Crowley can bring back someone from the dead. So how come Crowley was able to miracle him back at the end with his clipboard all chewed up? God this show can make you just go GAAAH!

Lovely! I think the left/right thing possibly jumped to viewers’ minds most obviously during the body swap-they return to their proper places in regards to each other. But I love your point about Crowley circling, always moving, and how it gives him away during the body swap. Such genius direction! And I appreciate the reading and work you put into this-that is no easy read indeed 😅

Mr. Neil Gaiman is a genius. I lack words. I believe that many "common" viewers have missed symbolism and only those re-watching and fanatics are aware :D Thanks for this content.

You know, the funniest thing about this commentary is that if you watch carefully in the opening credits of season 2, they show Crowley and Aziraphale sort of swapping places - most people thought it was an easter egg about the dancing or the kiss, but now it seems like it might have been a more, er, *sinister* easter egg? A warning about the conflict to come, perhaps?

first 30 seconds of this video: I feel so called out and yet so happy to be among my people at the same time

I love your videos. Thank you for doing them and asking all the questions, I had and the ones that I didn't even think to ask. I haven't read any of the other comments so if this is repetitive, I apologize. What really struck me at the end of episode six, Aziraphale and Crowley switched places (no, they didn't body swap again) but Aziraphale was in motion and Crowley stood completely still and didn't move again until Aziraphale was in the elevator and completely out of sight. I believe that Aziraphale saw Crowley out the bookshop window and then again before he got in the elevator. Crowley is now acting as Aziraphale's anchor. I think (hope) that Crowley's message behind it is, "I will wait for you."

I wonder if Crowley is on the right during the kiss because, at that moment, his desire (that he and Aziraphale be together) is the more stable one. It is the position that offers the most stability for them, as they are more stable together than they ever were with their "sides." Aziraphale's position will be the one to offer the most change and chaos, as it will tear that 6,000 year stability apart.

This was so good! I hope you never stop doing Good Omens analyses, but also, when you finally run out of Good Omens content, PLEASE keep making videos of other works that have been meaningful to you!!!

Wow, this video is just beautiful! You presented the information so wonderfully, and made me even more emotional for this show than I already was…Thank you so much for talking the time and putting in the effort to research all of this for us. I always love a good literary, artistic and philosophical analysis.

Respect! Not in a million years I would have recognized all this symbolism. 👍 Thank you so much for your videos. I really love them, and I love how respectful you honor the show, it´s storytelling, the art and the acting.

Wonderful! As an artist and art history lover I really appreciate the layers and layers of meaning. Love the St Thierry quote!

🤯 I didn't get that left/ right theme until now!! Ohhhhhhh, boy. I'm going to have to sit on this one for a while (and watch this several more times, of course!) Thank you SO SO much for this analysis, and of course, for all of the help, Emily! This is... 🤯

the ineffable yin and yang, also very much emphasized by their clothing choices (Aziraphale beige/light and Crowley dark/black). I'm wondering if, on set, they did this on purpose or instinctively. PS: Thank you for continuing to make analysis videos about this show because it took over my life.

i knew there was a reason i got so many feelings when i saw images of them together... please keep making these they keep me sane

Please, don´t apologize, your videos are perfect to explain many things fans have think about and your voice is beautiful. Thank you again for your videos.

Oh! I think you’re so right on with this left/right aspect, of A and C being in “correct” or balanced positions, and the significance when they are not. A kiss with them re-balanced … makes my heart ache to contemplate!

Great video - absolutely on point re the visual language and the historical importance of left and right. Indeed my dad (left handed) was forced in school to write right-handed in the 1950s - so the prejudice (if it has died out) has only disappeared fairly recently in historical terms; also the etymology of left - sinister - sin, bad - wrong - dark - evil has permeated our language at a fundamental level - as you point out. Our language is very bigoted (as well as sexist, patriarchal etc...) in so many ways for those who care to delve into etymology. My only slight observation would be to say that although minor chords are often used to denote sadness - major chords can too (for instance, listen to the slow movement of Schubert's String Quintet D956 - it is in E-major and yet conjures sadness more than most minor pieces do). Equally minor chords can conjure horror, rage, disdain, cheekiness, frankly just about anything. It's all in the context, pace, texture and harmonic world in which the chord is placed. From a soundtrack point of view - a purely atonal approach, not major or minor, but often focussing on dissonance -- is very common on soundtracks when showing darker moods.

This is awesome! I noticed both the left/right and the moving/still themes in GO, but wasn't able to verbalise what I was seeing. And beyond "left=wrong/bad, right=good", I only had the vaguest idea about the cultural symbolism you presented so beautifully. Seriously, I learn as much about culture, art, history and literature from your videos as I do about Good Omens! The S1 scene in St James's Park in 1862 stands out to me in visually using (almost) only the motion/stillness dynamic to make it feel jarringly wrong. They're in their balanced left/right places. But it's Aziraphale who's in motion, while Crowley is standing still, his pose almost rigid. Crowley doesn't even feed the ducks; Aziraphale does. The feeling of wrongness is underlined, I think, by their clothing: Aziraphale's is relaxed, Crowley's is... I can only call it severe. I keep getting floored by the beautiful complexity and the many, many layers of symbolism in _everything_ in this show!

I so very appreciate your analysis of Good Omens. You bring insight to moments that I haven't thought of.

ALSO NOTING HOW AT THE VERY END IN THE CREDITS THEY ARE IN THE WRONG SIDE....AND CROWLEY IS DRIVING IN HIS CAR WHILE AZIRAPHALE STANDS IN THE ELEVATOR...ENOUGH ENOUGH I CAN'T BELIEVE THIS

Your videos are a treat, and I especially love the beginning of this video, as to how often I've watched the series. That's so witty. Your editing is amazing! As are all your videos, I do rewatch them almost as often as I try to rewatch the series itself (as time permits...). Thank you so much for all the love and research (and editing skills!) and thoughtfulness you put into these videos. As you put it in this video, the series has so much more to it, and your videos really help to grasp this and appreciate the whole show even more. Biiiiig thank you for this!!

This video is so...ugh- It gives me comfort, really, knowing that i'm not the only one to have noticed all this visual poetry and then some. Well done You, well done! 👏👏 I also happen to have a random thought now, it's not about right and left but you managed to spark a long lost memory of mine i hope i can put it into words and make sense of it somehow (pardon me if it doesn't make ANY). So, Neil Gaiman introduced the 'Jane Austen' device to convey parallels and build context for a nice ball; Austen's books and how she makes characters fall in love are relevant to Aziraphale so that he gets the inspiration that leads to where we know, as said before, the *ball.* The fact that Aziraphale gains inspiration thanks to a book (an author in general) and that we visually see references to Pride and Prejudice on screen, reminded me about something really specific inside Dante's Divine Comedy. (thanks for mentioning it, that's where *this* comes from uwu ) In Canto 5° of the Inferno - the place in which we find whom sinned of lust, forever damned - Dante asks Francesca what actually sparked the deep love between her and Paolo what made them realise they were in love; and she tenderly admits that the tale of Lancelot and Guinevere *unexpectedly* caused them to fall for one another while reading it together, the lovers' tale was so strong and their love so compelling that Francesca and Paolo ended up having this forbidden love themselves! She was promised to Paolo's brother, in fact. Dante uses exceptionally tender and visceral words to convey this, the poetry is so raw and - ugh. The passion, the striking beauty of the fifth Canto comes from the description of that first kiss between Paolo and her that Francesca recalls ('cos they've just read the ancient tale), and that's the point that wins us all over. A Kiss! "la bocca mi basciò tutto tremante" / "(he) kissed my mouth, all trembling" I MEAN ---- *A Kiss! ALL TREMBLING* Now what does that reminds to us all? UUGGGHH GAIMAAAAANNN!!!! SO. I don't even know if my words make any sense at this point, in conclusion: A tale inspired love between two people, Paolo and Francesca, they sinned, got caught and killed during the act of love by the future husband and ended up together in hell for it but their love is still strong and true so much so that Francesca doesn't hate Paolo for this awful damnation, her love is so strong and her words so powerful when she sums up their story to Dante that Paolo silently and inexorably weeps and cries beside her the whole time never uttering a single word! (Dante too was moved to tears) My heart clenches every time i read it or hear it as someone is narrating the Canto! A Book can inspire love between two people, how to set it in motion, the attempt to make someone realize they are in love. Aziraphale remembered what Jane Austen wrote and tried to make it happen. Yeah, in the 'Divine Comedy' Dante Alighieri used the tale of two lovers to explain how Paolo and Francesca fell in love, Neil Gaiman put Jane Austen's ball tactics inside Aziraphale's mind so that a couple could realize to be in love ( >Nina and Maggie, kinda worked, right? ç^ç ) thus this worked as a narrative device for the plot of the final episode of season 2. I'm not saying Neil had any inspiration from Canto 5°, but it's funny that this small detail surfaced to my mind. This, i've remembered, the devices two authors used to bring together two lovers: an ancient tale and a ball. ç^ç

I'm just here watching another Good Omens video essay.

Thank you for this video essay, I have issues telling left from right, so seeing it actually helped me a lot (even though I still struggle to remember on which side they should be). These are the things I can't notice on my own, so I appreciate it when people write meta about it 😂💕

Im a little bit in love with you and I've never met you before. All your videos are just works of art but this one is such a "omg THATS what that is" eureka moment that ive been smiling like an idiot the entire time. Great analysis! I look forward to more!!

Interesting! As a left handed person (who was forced to use my right and punished for not), I'm a touch sensitive about the topic of left being evil. But if Crowley's on the left that's okay then.

The thought came to me that Crowley tends to rotate around Aziraphale like the moon around the sun. Crowley embodies the feminine fluid principle such as the moon, and Azriphale is the masculine solar stable principle.

This is a fantastic analysis! I always felt there was something interesting and important about how they were positioned in frame with each other throughout the shows. This analysis discusses it so well.. I never thought about it in this way though before, this makes me appreciate the shows writing and thought put behind it even more

I don't know what can I add, you said it all ! You blowed my mind. The "Crowley's anchor" and the fact Aziraphale turn his head where Crowley isn't anymore brought tears on my eyes. You're brilliant ! You explain very well and see things that I didn't see while I make analysis too. I'll come back in comments if I found something more after processing your amazing video x) Thank you.

what a wonderful compilation of all the thoughts id been having about this storytelling device! the enitre gomens crew are such geniuses and you do a spectacular job at interpreting their work!

When I started doubting if it's right for me to get so obsessed with what seemed to be JUST another tv show, you and your excellent analysis explained its many depths. I just couldn't catch that glimpse of a thought myself, so THANK YOU A LOT!

You did it again! Brilliant analysis, well researched. Learned a lot from this one. It was also so refreshing to hear the "wrong side standing" theorized as symbolic of them being out of balance with each other, rather than just "it means they switched bodies again" that some fans keep saying (and that just doesn't fit this time, IMO).

Whether or not these details were intentional, I really admire your attention to detail and analysis of the characters. Never in a million years would I have noticed this. Great work!

Yes, you hit so many nails on the head. I never knew the visual art analysis of it. I love how you are taking this seriously and I am so eager to see the rest of the show

I just want to say that I really, REALLY appreciate that you did this deep dive into the symbolism of left and right fro Crowley and Azeraphele without going into the theory that this is a sign that they switched bodies at the end of S2. It's just nice to appreciate the definite symbolism that is there, without having to go into the switch theory (which I personally don't love) And i love this interpretation. Yes they are on the wrong side of each other that's why they are in conflict and can't communicate properly. They are out of balance I love it You could even take it further but I'm going to have to think that all through before I write it down just to settle my thoughts so thanks for the brain food 😁

Thank you for this! The recognition of the left/right positioning was just on the edge of my awareness, and I couldn't quite put my finger on it. I love this analysis so much as it adds another layer to my understanding of why I find the Good Omens show to be such an exquisite work of art. Adding further to your theory, the left/right thing may not be simply something that our brains have been trained to recognize, it may actually be the result of the physiology of our brains. Iain McGilchrist has a brilliant book about the right and left hemispheres of the brain. He explains how they "see" the world differently, and he maps a sort of power struggle between the two of them through art, literature, and philosophy from antiquity up to the present day in his book, the Master and His Emissary (which does include the James Hall book in its ridiculously extensive bibliography). One of the things that McGilchrist proposes is that these different aspects of right-hemisphere and left-hemisphere qualities in art, literature, and philosophy are actually an attempt by the brain to cognize itself and thus to understand itself. I had never considered it before but having now made the right/left connection from watching your video, I now want to go back and do a full analysis of how Crowley matches up with left hemisphere traits and how Aziraphale matches up with right hemisphere traits. Off the top of my head, I think the correlations would actually be quite significant. Is Good Omens helping our brains to understand themselves and find balance?! This is a level of awesomeness I hadn't even considered.

You REALLY did a deep dive there! This is lovely to watch. I've enjoyed all your essays that I've seen so far, and this one just gives us so much depth. We can see the care that you put into this work and the love that you clearly have for the series. I agree with you by the way about the show finding a lasting audience and becoming a timeless classic. I don't know if the show itself is literally The Mona Lisa, but I do see several fan art pieces that are more than gallery-worthy each week. *tilts glass* To the world!

I'm in love with your analysis.

These are terrific - if you haven’t got into “Our Flag Means Death” yet, you might enjoy that - feel free to make similar posts about it!

I subscribe to the plethora of praise in the comments before mine and can't add anything except that you deserve a monument

I'm at a loss for words. 😮🥺 You just made be even more obsessed 😵. You're right, this is a work of art. And yes, I know all the lines. Never gets old! BTW, there is this scene, before they get caught in the paintball crossfire, they get out of the car, Crowley is on the right of course, but they cross paths. Azi follows the lane while Crowley walks straight on the grass. I thought this was showing Azi following the rules, the path of righteousness, while Crowley didn't care if he damaged the lawn, he's a demon after all. But they end up in their usual positions, and at the exact same time, Crowley on the left, Aziraphale on the right.

me thinking I can't get anymore obsessed with this show, then I watch another analysis and feel the urge to scream into a pillow because this show is just so good and normal words cant describe my love for it 😂 (Man will I even survive season 3 like this 😭)

I have to be honest and say I have to psyche myself up to watch your theory vids because they always make me feel rather emotional, not just in how beautifully presented they are! And yes of course I've picked up the left right symbolism, but the minute you began to point out what happens when they're switched, it clicked so hard I gasped 'OH MY GOODNESS!' to an empty room aloud, 'THE LAST SCENE!' And by that I was thinking about as 'The End' music plays and the credits role- Aziraphale is to the left and Crowley is to the right. And you're absolutely correct!

This is amazing! I never noticed how they stand in the same way next to each other, so those shots blew me away. Something to look forward to on my next rewatch 😇. And it makes complete sense with that symbolism of right and left sides as you explained. And just le sigh at how religion conveniently linked the feminine with evil and masculine with good, because of course they did.

I'm floored. I have, like you say, been totally overtaken by this show. I'm loving all finding all the symbolism I would have missed. It's such a fantastic spot to see the left and right symbolism. I definitely agree Good Omens has already become permanently beloved.

another thing is that during the confession scene, crowley is the one waiting and aziraphale coming to him. love the analysis!

Yes it is my first time watching the show and I’m sad and binging content everywhere!!! (Love your analysis!!!!)

I love this! I hadn't picked up on the left-right recurring theme, but you're correct, I had absolutely subconsciously felt the "rightness" of it, and it absolutely did affect my whole reading of the final episode, even before the final conflict. Something felt OFF, and this explains it (at least partly; I'm sure there were other subconscious clues). I'm very excited for your future analyses! The symbolism and intellectual depth of the show has been a big draw for me, completely aside from my fannish glee of the ineffable husbands.

You really are amazing Sendarya. I watched this before but obviously didn't properly take it in. I would also like to join your philosophy class ! 💗

You are a genius and this is such an amazing essay

This is such wonderful analysis. Thank you for making this - it's reframing how I'm doing my rewatch and how I'm going to call attention to their positioning in ficwriting. And you're helping me to appreciate even more the amazing acting both Tennant and Sheen bring to this - they make Crowley and Aziraphale so perfectly complementary on so many levels. A bit of a side note on Aziraphale's stability of position: I've been watching Masters of Sex with an eye towards motion and position inspired by this vid, and Sheen brings this stillness to his character that's uncanny. It's different from Aziraphale's, but it's so powerful to watch when everyone else is in motion around him. In Masters' case, I think it's vigilance and readiness to react to an attack (for reasons that are brought up in the show and the book it was based on). Sheen brings so much skill to make stillness in both characters interesting through his eyes and expressions.

The way you explained this symbolism of the left and right balance is so well done. It shows how much thought was put into this

I love this kind of meta, it's always so interesting seeing visual information broken down. Great video!

hadnt thought of any of this symbolism. much thanks. I do spend a great deal of time rewatching GO and looking at clothing and architecture (is it really a cardboard set?). the wonderful use of shading, how often the time of day seems to be at dusk. but I never thought of the placements of the main characters. mainly I look at Crowley. he spends the entire series moving in one way or another. I always credit that to Tennant for being one of the few actors today that uses their entire body not just a talking face to emote. I so love that and Tennant for doing it. so much of this series could be a silent film. you're right- the entire series strives for visuals and symbolism. one thing that always bothers me and I dont get it. In the beginning sequence shot of the nebula why does it look like a giant FU behind them formed in the nebula?

I didn’t need to be THAT called out in the intro 😂 anyway great video!

🐈‍⬛ I loved this. In part it explains why I'm so obsessed with GO. I'm rewatching again and again and again, I know all the words, I don't usually do this, so OMG WTF is going on? It makes such sense that the beauty of it, grounded in Renaissance painting, is pulling us in. And the Left/Right visual poetry makes sense of how we are being affected subliminally. At the end of Ep 6 everything is out of balance and we are completely thrown off balance. But I'd like to offer an additional idea of my own, and for that must refer us back to the Maestro, Terry Pratchett. Near the opening of his novel Witches Abroad, you find this: "Stories are important. People think that stories are shaped by people. In fact, it's the other way round. Stories exist, independently of their players. Stories - great flapping ribbons of shaped space-time, have been blowing and uncoiling around the universe since the beginning of time. And they have evolved. The weakest have died and the strongest have survived and they have grown fat on the retelling... stories, twisting and blowing through the darkness, And their very existence overlays a faint but insistent pattern on the chaos that is history. Stories etch grooves deep enough for people to follow in the same way that water follows a certain path down a mountainside. And every time fresh actors tread the path of the story, the groove runs deeper. This is called the theory of narrative causality, and it means that a story, once started, takes a SHAPE. It picks up all the vibrations of all the other workings of that story that have ever been. So thousand heroes have stolen fire from the gods. A thousand wolves have eaten grandmothers... Stories don't care who takes part in them. All that matters is that the story gets told, that the story repeats... It takes a special kind of person to fight back-" I think that Pratchett and Gaiman, master story-smiths that they are, have cut a groove that allowed in one or maybe two of these ancient, powerful stories, which are trying to tell themselves again. Maybe Paradise Lost, or the Marriage of Heaven and Hell, along with the theme of star-crossed lovers,,. These all pull towards tragedy. For our lovers, angel and demon, there's a tidal pull of attraction between them, it's as if you had split the atom, and the two parts are striving to reunite, but the Story keeps pulling them apart, but we don't want that. Now, bring these stories to life onscreen, with two of the world's finest actors: Michael Sheen, the archetypal protean actor who dives down deep and disappears into his character, and David Tennant, with that mercurial, combustible energy, ready to erupt out of nowhere. Plug these two into one another, and you have the equivalent of high-octane rocket fuel! Now channel the Story through these actors: it's like lighting the blue touch-paper that send the Story roaring up into the stratosphere. So I think that is what is happening. The Story has gone feral, trying to write itself, sparking and fizzing and crackling and exploding through the ether, and we're picking it up, and it's probably doing our heads in! I'm a writer, but at the moment, instead of writing my own stories, I've got this one roaring around in my head trying to get written and I bet some of you are doing the same. No wonder I am obsessed (Yeah, you can probably tell, can't you?) So: for Season 3 - and there has to be a Season 3, or The World Will End - the writer will have to catch the Story, wrestle it back into its container, and earth it. Good luck with that - but he is Neil Gaiman, so he won't need it. And my wish is: that tragedy is averted: that Paradise Lost resolves as Heaven on Earth, and the lovers, angel and demon, now healed and whole again, can be together in whatever way they want, and need to be .And I hope they live happily ever after! Apologies for the length of this, and thanks for reading, if you did! And thanks again Sendarya for what you put out. I love your videos. Keep 'em coming!

everytime i see your theory videos it makes me wanna rewatch it. and i could watch it a thousand times without getting bored.

THIS is why i love analysts

OMGOD! AMAZING ANALYSIS! I didn't realized so many things that you said😮...I would like to add a tiny thing that I did realized and I would like to add❤ I started to see videos about no-verbal language and microexpressions since a long time ago and in this show I did realized of AMAZING character study from Michael Sheen as Aziraphale. For example, when Aziraphale see to his left under after being Kissed for Crowley, in no-verbal language means that he is connecting with his feelings about Crowley😭 (a little observation that I had)... There are so many microexpressions and no -verbal language in this show that demostrates the amazing commitment of David and Michael as actors❤ thanks so much for all these videos❤

Thank you for this: the fact that we instinctively ‘know’ when something is incorrect due to the staging is because of the brilliance of the people doing their jobs behind the scenes, as well as that of the actors. There’s something so satisfying about how fluid and effortless the feel of a piece of art can have when it is rendered well. And this was done perfectly. In some ways it reminds me of the work of Mike Flanagan: classical symbolism, casting of a corps of versatile actors, religion as a reflection of (personal/societal) humanity, ‘impossible’ visuals, & imminently rewatchable. Neil’s fairy tales tend to hide their claws behind the veil of dreams in a way that I find more appealing to obsess about. (In the case of ‘Sandman’, literally) Neil’s work has always had the feel of something classical we were never taught, a type of rhyme-scheme long forgotten. Thank you for helping to explain why this adaptation translates it so well Brilliant work, as always 💜🌈😈😇

Fantastic, I love it! I also noticed it, but not in this depth. So once more thanks for this great analysis 🫶 Funny that the two actors also choose this positions when they get interviewed 😉

This video is so good, can’t believe I didn’t watch it earlier. Thanks for making this contentttt 👏👏👏

Here again, bounced back from a reddit conversation about GO camera angles. This video s is so good. Thank you! Just had a thought about imagery. When Crowley is cast out of heaven he goes to a garden. When he's assinged a home on earth, he creates a garden there. When he is cast out of his flat, he creates a garden in his car. When Aziraphale casts him out of his car for a couple days, Crowley takes his garden with him and wastes not a second reestablishing his garden back in his car and talks to the Bently like a living being. We know about Crowley's black and red, but what about black and green? The predominant colors of hell, the Garden soil and tree, Crowley's flat with plants, the Bently with plants, the narrow street where Crowley parks to sleep.... Crowley has no choice but to "find himself" in s3 and bring his role as Protector of Life to fruition, I think. It's what he's made of. Black=independence? Red=blood? Green=life? Not sure.... Thoughts?

What's funny is I realized I've been drawing Crowley on the left side of the page and Aziraphale on the right every time I draw them

My wife and I, from the first day we ended up holding hands, chose our spots. Wherever we walk, I am on her right, the same hand holding hers every time. It's where I belong.

What a deep analysis, thanks do much!

Fantastic! Not sure why my comments aren’t showing, so here I am trying again.

0:07 YES 0:20 YES 0:25 YES 0:30 I HAVE AWAKENED NEW SUPREMACY 🛐🙏 0:33 UHM OFC

Your opening statement about watching everything etc is hilarious. That is exactly how it feels.

"...and time." LOL! Thank you for this wonderful analysis!

The title (and my lack of previous knowledge of the whole left and right history) made me think this was gonna be a silly little video, but it was actually so interesting! I love this show so much and I absolutely can't stop thinking about it

The balance between the two sides that Crowley and Aziraphale represent is very important. It only works in a very strong way when they are at an even level. This is the reason why Aziraphale's offer to Crowley couldn't have worked out. "I would run it and you can be my second in command." he says to Crowley - but that would put him and Crowley at the same side of the scale (Heaven) and would officially make him Crowley's boss, too. No more even balance there! Therefore I believe that season 3 needs to restore some kind of even balance between the two. Maybe with a hurt and angry Crowley rejoining Hell again which would at the same time render the sort of interaction they had up to then more difficult as give them some opportunity to communicate again. After all, Gabriel and Beelzebub had opportunities to meet and ended up doing, what Crowley wishes to do with Aziraphale: go off together. Season 1 also gave a hint when Crowley and Aziraphale are considering what might come after Armageddon failed. Crowley says 'I believe it's all of us against all of them" and Aziraphale's question is " What? Heaven and Hell against Humanity?"... leaving it to be decided whether 'us' means 'Heaven and Hell' or 'Humanity'. The natural conclusion from the first two seasons would be: put the best of Heaven and Hell together and you get Humanity!

I honestly just wanted to say that I love these analysis. They make my day :) good video!

This has to be one of the best video essays I have ever seen. Oh my god. I am in awe.

This is fascinating. Thank you so much for these videos!

Loving the upload schedule! Love your videos :)❤

Wonderful analysis, keep them coming !

Loved this, thank you! Very thought provoking 😊

Great video! Looking forward to the next one.

I'm so happy I found your channel! This video was fantastic! Can't wait for the next upload.

You mentioned so many things that I hadn't noticed before. Great job!

Love your analysis as always!

I LOVE YOUR ANALYSIS TYYY SO MUCH i Wait everyday for a new one

Thank you SO much for these videos! So interesting, dense and fun, and I'm gobbling them up! Fascinating!

This didn't disappoint 👍 I'm impressed by the depth and summary

Ugh, you are turning us ALL into drooling Sendarya fangirls with your brilliant "Good Omens" analyses!😱 Every one of them has been consistently, mind-bogglingly good, and the Visual Poetry of Left and Right is no exception. I wish I could say "I knew that!" with a straight face, like a certain Archangel, but I would be lying. 😭 But now that I DO "know that", my understanding of, and appreciation of, this show and its creators only continues to grow. Thank you for taking time out of your busy life to do these. You are much appreciated.❤

A very nice and profound análisis! Well done!

Excellent analysis! I love your thoughtful and thought-provoking videos and the time and effort and research you put into all of them! What clued me in on the right and left thing is I got a bunch of Good Omens pins and when i was arranging them, Crowley was always on the left looking right and Aziraphale was always on the right looking left - except for the pins where their backs were turned because Aziraphale had his wing over Crowley. So I knew something had to be up for so many fans/pin makers to position them the same way.

This was excellent and pointed out some things I hadn’t consciously thought about before but innately had picked up on.