This is compounded by a central subplot where the duo actively engineers a lesbian romance between human shopkeepers Nina and Maggie through supernatural intervention and a contrived Regency ball, making queer coupling a key plot mechanism. Additional queer relationships, such as between the amnesiac Archangel Gabriel and Beelzebub, further saturate the narrative with LGBTQ+ focal points in a biblical fantasy setting traditionally devoid of such elements.

Creator Neil Gaiman reinforces this with statements affirming Crowley as gender-fluid and embracing queer interpretations, while casting introduces prominent diverse and disabled actors in angelic/demonic roles (e.g., Shelley Conn as Beelzebub, Liz Carr as Saraqael), prioritizing representation over organic fidelity to the source material's vague descriptions. Absent book source for the season, these elements feel like activist insertions that overshadow the runaway archangel premise and historical flashbacks, diluting the comedic fantasy with identity-driven drama. Audience backlash highlights the intrusive nature, with complaints of 'no source material,' fanfic-like queer emphasis, and 'woke' annoyances from the anti-woke crowd, compromising the entertainment value by subordinating story to messaging.