Good Omens season 2 review

 

I've seen some mixed reviews of this with some harsh comments particularly from fans of the original novel who feel season two has been done a disservice even though its mostly written by Neil Gaiman. I've never read the book but thoroughly enjoyed the first series though I did see it as a one off. I wasn't really sure where another season might go without either repeating the highlights of the first or heading off somewhere tangential. In the end they seem to have done neither by opening up new aspects of the central friendship and varying the canvas behind it just enough. I think a good job as been done even though I found the first third more enjoyable than the rest. 

Some spoilers after the break...

 

By reducing the narrative scope to essentially just Aziraphale and Crowley it has really honed in on what made the first series so good. For all they contributed the other characters were never quite as interesting as this celestial version of The Trip and without them the first couple of episodes are busy, lyrical television. I like the fact this is a very wordy series, packed with interesting dialogue not all of it totally pertinent to the plot but so much the richer for it. The conversations are clever, witty and interesting, perhaps not the way normal people speak, but they are not normal people.

 In these episodes religion itself is not being belittled, rather the paraphernalia that surrounds it, the idea of faith being represented by these mythical figures all of whom were invented by humans anyway. The opening episode begins, in one of those delightful flashbacks at the start of creation as our two characters meet for the first time. At this point Crowley is still an angel, which is interesting, but we see the first signs of his disillusionment with the good side when he learns the Universe he’s in the middle of creating will be obsolete in a comparatively short number of millennia. The main story involves an earthbound – and initially unclothed - Gabriel taken in by Aziraphale with no memory of who he is or where this is rather like an adult baby. This situation gives John Hamm plenty of well taken comedic opportunities.

Gabriel’s disappearance has caused alarm both above and below meaning that our two central characters have to work miracles (in one case literally) to keep his whereabouts hidden. The cast being packed with actors who can deadpan so effectively, this is hugely enjoyable material. Even the episode’s only significant side plot involving the owners of two nearby shops, plays neatly into the narrative at the right moment. And we have the return of Miranda Richardson, now playing a different character but with her expressive face  and voice perfectly deployed.

The second episode explores one of religion’s most bizarre stories involving Job, a devout family man who was afflicted with various calamities to test his faith a process which we would nowadays define as torture. Yet it’s always been seen as a good parable and therefor ripe for being part of this series which - in a fabulous sequence - deconstructs its absurdity with well observed humour. For viewers who perhaps have no terms of reference for the spiritual aspects, there’s fun to be had spotting generations of the same family in this episode. Peter Davison plays Job with his mastery of the stoic downtrodden character. David Tennant of course is married to his daughter, her son plays Job’s eldest. Just looking at Davison’s facial reactions to what has befallen him is worthwhile alone.

These two episodes are for me the high point as the remaining quartet seem to be treading water which I suppose shows why those other plots in the first season were necessary. Also the series starts to take on a more conventional shape to the point where unsaid things are being said slipping the subtlety away from the narrative. Still there are plenty of great moments to savour- Aziraphale’s drive up to Edinburgh in Crowley’s car starts with a fun gag about the vehicle’s livery colour  and includes a an encounter with Shax, Miranda Richardson as quirky as ever. The new character of Muriel an angel disguised as “a human policeman” is a lot of fun thanks to Quelin Sepulveda’s delivery of some amusing lines.  

The third episode’s grave robbing scenario provides plenty of black humour though drags a little bit. This is even more true of the zombies in episode four even if the story reunites the League of Gentlemen. The episode’s ends strongly though with Aziraphale’s sojourn on the London stage which packs a surprising tension due to his and Crowley’s miracles being blocked. I have to say I wasn’t as engaged as I should have been by the potential of the Maggie and Nina romance which isn’t kept in enough focus to work as it should through no fault of the actors. In particular I found the harsh texts we see from Nina’s partner somewhat unsubtle in making a point that their relationship was on the rocks. Funny though how the actors have the same names as their characters.

The suggestion last season of some sort of deeper connection between our two main characters is broadened out, though it was always there both in Michael Sheen’s little fussy looks and David Tennant’s determined detachment from emotional ties. During an overlong confrontation between the forces of good and evil around and eventually inside the bookshop (love the use of old fashioned smoke) the mood shifts from apocalyptic comedy to a sort of adult version of Heartstopper with declarations of love aplenty. It seems rather too obvious and heavy handed for a series like this and doesn’t quite work as well as it should yet it is to Michael Sheen and David Tennant’s credit that they do sell it enough to convince. Beelzebub and Gabriel though? Really?

The ending is given a real Hollywood heartbreak heft suggesting a third season but I’m not certain where they can go with it except perhaps setting it in an earlier time like a prequel. Ultimately though, we watch this series to see two actors at the height of their powers and in that respect Good Omens is still, if not brilliant, ineffably good.