Then again, perhaps BBC’s “Sherlock” is the more relevant show. Whereas “Doctor Who” generally centers around a male Doctor in a (sometimes) romantic dynamic with his female companion, “Sherlock” was always centered around two guys. Like the duo at the heart of “Good Omens,” John and Sherlock were constantly teased by other characters on the show for seeming like a gay couple. Famously (and tragically), many fans convinced themselves that the show was planning to follow through on the possible foreshadowing; when season 3 came along and the show started referencing JohnLock shippers, many took this as confirmation of the show going down a queer route. (The most likely explanation is that the showrunners never had any intention of doing this, and that their references to #Johnlock were simply there to make fun of the fans.)
The moment many of the JohnLock shippers fully gave up hope was in the season 3 finale: John and Sherlock are being separated seemingly for good, and it seems like Sherlock is about to confess something to John before he leaves. The script builds it up like he’s about to give a declaration of his love … only for Sherlock to make a meaningless joke about John and Mary’s choice for a baby name.
Nine years later, “Good Omens” would find itself in a similar position in “Chapter 6: Every Day.” But this time, when one of the characters has their chance to confess their love, to make a whole show’s worth of queer subtext canon, “Good Omens” actually follows through. It’s given the viewers what they want, haters be damned. For “Good Omens” fans who’d previously suffered through seven years of queerbaiting from “Sherlock,” this season 2 finale is its own little miracle.