Good Omens finale review

 

Having been squeezed into ninety five minutes or so from an originally intended six-part series, its reputation tarnished by the allegations against its co- author, the third instalment of Good Omens seems determined to make a stand. Every scene is accompanied by grandiose incidental music, the story moves fast because it has so little time and the actors give it their best oratory.  Visually it manages to convey a lot even on a reduced budget. In some ways the truncated form helps; season two was definitely prone to meandering whereas this third part focusses on its two main characters, always the key asset. While the reduced screen time does sometimes help, it can also mean narrative leaps that are not always earned.

 

I never came to Good Omens with preconceptions having not read the book and while it could be a little arch and sometimes too pleased with itself much of the series proved enjoyable. The themes pull the rug from under the iconography of religion re-interpreting both sides as inefficient bureaucracies hidebound by process. The show also delights in the use of language. In an age when the opposite is encouraged to make things more “real” or “urban” Good Omens sometimes feels like a throwback to drama from another television era.

The plot opens after a war between Heaven and Hell (I wonder if the six part version was intending to show some of that event?) ended with victory for the former. Now there is to be the second coming though amusingly there’s some debate over whether this should be an opportunity for a fresh start or for something more apocalyptic. With Aziraphale in charge the former option is chosen though things soon start to go wrong. For one thing Metatron (aka the voice of God) goes missing swiftly followed by the newly reincarnated Jesus in his indie cardigan. When the Book of life also disappears the situation forces Aziraphale to seek out Crowley to help track down these missing pieces. Crowley is currently a down and out, albeit a nattily attired one, who sleeps in an alleyway and initially wants nothing to do with these matters.

They do however soon team up to ignite their exceptional on screen chemistry.  This has always been Good Omens’ biggest draw and once again proves to be the case. Michael Sheen’s fussy Aziraphale who likes the finer things in life and visibly winces when faced with anything else, is a delight. David Tennant channels a more cutting version of his Doctor Who persona- estuary vowels and dismissive intelligence. The investigatory format suits both as they chatter and bicker about the best way to proceed. I’m already imagining a supernatural detective show they could co lead!

There’s strong support too, notably from Doon Mackichan as the scheming Michael, her facial expressions underscoring that the character is always up to something. Jesus is portrayed as a wide eyed optimist played by Bilal Hasna whose random memories from the past and observations of the present are delivered with just the right intonation. In later stages he carries out a version of the loaves and fishes miracle but involving slices of pizza in the episode’s loveliest scene. As the depressed man he befriends, Mark Addy brings gravitas to a slightly underwritten role and there’s fun to be had courtesy of Sean Pertwee’s card hustler with supressed anger issues.  Plus there’s a few brief scenes with Derak Jacobi’s booming Metatron and the Hell sequences are suitably over the top.

Visually the production, directed with momentum by Rachel Talalay, can still dazzle as it plays with space and depth. Sometimes a simple set can work wonderfully well – like the corridor running between Heaven and Hell or the pure white domain of the former. The representation of pages of the book of life being torn out and burned is achieved by a three dimensional globe of the world in which bits turn black. Sometimes more spectacle is required – a ride in Crowley’s vintage Bentley becomes an exhilarating speedrun around the world and into the stars in the episode’s most colourful sequence.

Unusually for a story that has enjoyed swiping potential happy resolutions away with a more cynical blade, the conclusion ties matters up with optimism if a little too easily but by then the show is literally running out of time. It is a sign off that does feel sudden but given the events that lead up to it I’m not sure what else they could have done. It is, as one character alludes to, a “tidy” ending.

Of course, it is unexpected that we can see this curtailed episode. Even before the controversy the writer’s strike delayed production. After allegations came to light the author’s other adaptations were all cancelled and in the case of Anansi Boys not even shown. This episode was made nearly eighteen months ago. The allegations have been denied and were thrown out of court but nonetheless Neil Gaiman remains persona non grata. I noticed the credit with his name on was wiped away from the screen quicker than any of the others.

As things stands some may never feel comfortable watching this - and I do also wonder what Christian viewers may feel about some of the religious liberties taken. However, if you want to know how the story of Aziraphale and Crowley concludes then this is a satisfactory enough ending with sparks of what made this story so interesting in the first place.