At its heart, the series is anchored by one of the most delightful duos in television history. Michael Sheen plays Aziraphale, a fastidious angel who runs a rare bookshop in London’s Soho. He loves sushi, fine wine, and the inherent goodness of humanity. David Tennant plays Crowley, a slithery, leather-clad demon who drives a vintage black Bentley, listens to Queen at maximum volume, and claims to be “a fallen angel with a very bad attitude.” They have been on Earth since the Garden of Eden, and in the 6,000 years since, they have done the unthinkable: They have become best friends.
Based on the beloved 1990 novel by Neil Gaiman and the late, great Sir Terry Pratchett, Good Omens (streaming on Prime Video) is a miracle of tonal alchemy. It is a biblical epic about the Antichrist that feels like a British sitcom; a buddy comedy about an angel and a demon that doubles as a profound meditation on free will; a disaster movie that you desperately wish would get distracted by sightseeing. good omens
The series is also a masterclass in aesthetic comfort. For a story about nuclear Armageddon, the visuals are lush, warm, and inviting. The soundtrack sways between ethereal choral music and the crunchy guitar riffs of “Bohemian Rhapsody.” Even the Four Horsemen of the Apocalypse (renamed War, Famine, Pollution, and Death) feel less like Lovecraftian horrors and more like very annoyed civil servants. At its heart, the series is anchored by
What makes Good Omens resonate so deeply is its radical empathy. It suggests that dogma—whether divine or infernal—is the enemy of kindness. The angel isn't nice because he is holy; he is nice because he chooses to be. The demon isn't evil because he is damned; he is merely frustrated and lonely. The show argues that the line between good and evil does not run between Heaven and Hell, but straight through every single heart. David Tennant plays Crowley, a slithery, leather-clad demon
In an era of cynical reboots and grimdark fantasy, Good Omens is a gentle, hilarious, and surprisingly profound act of defiance. The Apocalypse can wait. There’s a bookshop that needs protecting, and a Bentley that needs a speeding ticket.
Good Omens is not just a show about the end of the world; it is a survival guide for living in one that often feels apocalyptic. It teaches us that the most revolutionary act you can commit is to be kind for no reason, to enjoy a glass of vintage wine, to feed the ducks, and to look at the person next to you and say, “We’re on our own side.”