Put plainly, it’s a wonder that the “Good Omens” finale even exists. In the wake of a series of sexual misconduct and assault allegations against creator Neil Gaiman, production on the series’s third season was paused indefinitely. Although Gaiman has repeatedly denied the claims, it certainly felt like the Prime Video comedy about the unorthodox love story between an angel and a demon—as well as the human world they both adore—would likely find itself in the proverbial bin alongside several other shelved and/or canceled projects connected to the disgraced author (See also: “Anansi Boys,” “The Graveyard Book,” and “Dead Boy Detectives”).
But the Ineffable Plan works in mysterious ways. Gaiman ultimately stepped back from the project, and production resumed, although the third and final season, originally slated to run for a full six episodes, was downgraded to a single feature-length installment. If behind-the-scenes internet scuttlebutt is to be believed, the whole thing came within a hairsbreadth of being canceled entirely, so perhaps the best thing that “The Finale” has going for it is that it offers fans a closure they almost didn’t receive otherwise.
The show’s first season was based entirely on “Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch,” the best-selling novel by Gaiman and Terry Pratchett, and revolved around, among other things, the forbidden partnership between fussy angel Aziraphale (Michael Sheen) and caustic demon Crowley (David Tennant), an Anti-Christ who was switched at birth, and a thwarted apocalypse. Its second installment moved the story beyond the borders of the novel toward the world of a potential sequel that Gaiman and Pratchett had apparently discussed several times before the latter’s passing in 2015. This finale gives us that conclusion, if in a somewhat unfortunately truncated fashion.
The episode’s story picks up several years after the dramatic events that closed the series’ second season. Azirphale, now Supreme Archangel in Heaven, is organizing the plan for the Second Coming, which involves a monstrously long angelic to-do list and a not-so-subtle push to shift the event away from fire-and-brimstone eternal judgment toward a more universal peace, light, and happiness kind of vibe. Crowley, for his part, has remained in London. Retired from life as a demon, he’s drinking too much and sleeping rough in an alley behind the bookshop where Aziraphale once lived.
But things quickly go off the rails when Jesus (Bilal Hasna), newly given a physical body in preparation for his return in glory to Earth, disappears from Heaven in search of help figuring out what precisely it is that he’s meant to do. And if that weren’t bad enough in terms of Aziraphale’s likely future job security, the Book of Life—a register of reality into which all creation has been entered and through which it can be erased —has also vanished.
Unsurprisingly, Aziraphale turns to Crowley for help tracking the Son of God down, and the two once again find themselves on a quest to forestall the end of the world. But the pair’s problems go well beyond the divine. One of the key subplots heading into this finale centers on whether the two can rebuild their damaged relationship following the Season 2 cliffhanger, which saw the celestial soulmates finally kiss, only to separate when Aziraphale chose to return to Heaven rather than remain on Earth with Crowley.
While the pair’s onscreen reunion takes some time to materialize, the episode smartly doesn’t gloss over the lingering tension between them or invalidate their differing perspectives on the choices each made. It also doesn’t hurt that Tennant and Sheen have never been better together, and the otherworldly chemistry between them sparkles as brightly as it ever has, now sweetened with an extra dollop of overt yearning on top.
It’s evident throughout the final episode’s brisk ninety-six-minute runtime that there was supposed to be considerably more to this story. What feels like entire arcs are condensed into the span of mere scenes, and much of the series’ larger cast has little to do. (Some who played key roles in the previous season, like Jon Hamm’s Gabriel, Miranda Richardson’s Shax, Nina Soysaya’s Nina, and Maggie Service’s Maggie, simply don’t appear at all.) Even some of the show’s trademark celestial silliness lands more clunkily than it likely would have otherwise (a scene involving Sheen in an elaborate disguise feels especially painful) if only because it’s hard not to wonder if the time spent on these sorts of moments might have been put to better use elsewhere.
Yet it’s equally obvious that this final product is a labor of love for everyone involved. Tennant and Sheen tear into the emotional material they’re given with gusto as Aziraphale and Crowley face fraught moments, difficult conversations, and impossible choices. (Sheen, in particular, is outstanding throughout, conveying multitudes through little more than soft smiles and facial expressions.)
Director Rachel Talalay, who has helmed some of “Doctor Who“‘s best modern episodes, brings a distinctive style to the finale, particularly her vision of the run-down state of Whickber Street following years of Aziraphale’s absence and the bookshop that once served as its heart. Talalay is also clearly aware of what she’s got in her pair of leads and firmly positions Aziraphale and Crowley at the heart of everything, with lots of lingering close-ups of Sheen and Tennant emoting at one another.
While the limited scope and frequently rushed feel of “The Finale” is not likely the way anyone wanted to see the series’ final arc play out, “Good Omens” ultimately ends as it always was: A love story. It is imperfect, to be sure. But despite its flaws, this final installment still holds firm to the idea that love, in all its forms, is a radical act. Perhaps now more than ever, that’s still something worth celebrating.
Premieres May 13 on Prime Video.
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