Good Omens

Representation / casting choices

The leads are white British men playing non-human beings who present as male but are described by the creator as not identifying as male; no prominent race or gender swaps; supporting diversity exists but shows no audience-visible identity signaling or quotas.

Political / ideological dialogue

Satirical jabs at Heaven and Hell's bureaucracy, blind faith, and apocalyptic plans appear throughout, with some modern cultural references, but the show avoids explicit contemporary political or activist talking points.

Identity-driven story themes

The queer romantic bond between Aziraphale and Crowley drives much of the emotional core, especially in seasons 2 and 3, with a kiss, creator confirmation as a love story, and a finale marriage scene; this element is highly visible and central to the later viewer experience.

Institutional / cultural critique

The series mocks rigid religious institutions, predestination, and authoritarian "divine plans" as absurd, while celebrating human free will and messiness; this stays fantastical religious satire without modern activist framing of patriarchy, capitalism, or systemic identity issues.