#but after the last episodes of s2 and then the two at the beginning of s3

[noodles-and-tea]

👀

#oh donkey Arthur your 10 seconds of screen time will forever live in my heart #a small throw away joke to make Arthur look stupid? #no sir what you’re looking at is something so special and important to me #I’ve noticed that there’s a pattern for the episodes that’s like it goes a serieous episode followed by a silly filler episode #so actually it goes plot then filler I’m realising I just hadn’t used proper terms for it cause I’m stupid #but after the last episodes of s2 and then the two at the beginning of s3 #I was waiting for my silly episode reward #and boy howdy that was a silly episode #(im sick atm please just polite laugh and nod and be on your way) #my art #Merlin #bbc merlin #arthur pendragon

[noneorother]

The grand unified theory of Good Omens S2 - A Detour! We all misunderstood the Bentley scene, and it's going to blow your mind. *Part 5*

Part 1 l Part 2 l Part 3 l Part 4 l Part 5 l The End?

Welcome to the Bonkers Meta Series featuring your favourite Art Director/Clue detective. I have to take a detour around Crowley and the final fifteen, so sorry!

So I'm still trying to wrap my head around WHY the Bentley changes in Scotland, but I think I've worked out what happened in the Bentley as Crowley drives away in the final scene of S2E6. Lots of people have speculated that the music is a last ditch miracle message from Aziraphale, or even the Bentley sticking the boot in, or trying to be consoling. I think it's a gut punch for Crowley, but also... a ✨Clue✨! So we know from the S2E3 that Aziraphael has "trained" (?) the Bentley to play his music that stays his music.

And the next time we hear music in the Bentley it's "Something modern", as Shax is threatening Aziraphale that she knows where Gabriel is. Aziraphale is now making this face :

Also known as the OHSHITOHSHITOHSHIT. But then the credits roll, and we are introduced into the 1941* Minisode directly. Which is quite weird, considering the other two historical flashbacks we get are preceded with Aziraphale interacting with something and then *remembering* because it jogs his brain. If we roll over the 1941 Minisode we get this scene directly after it. Aziraphale is parking the Bentley and makes this face.

Also known as the Wasn't that a fun jaunt. And then precedes to NOT TELL CROWLEY ABOUT SHAX. It's like he's forgotten the threat ever happened. So the Bentley goes back to where it was parked after being scolded, and no one uses the radio again (Crowley does drive it but there's no music playing at the beginning of S2E5, my bad!). No one has used the radio since Aziraphale got out of the car in the end of S2E4. So here's the bonkers part.

I think Aziraphale played A Nightingale Sang in Barkley Square to calm himself down on his way back to tell Crowley about Shax, and it triggered the Minisode/memory about 1941. Then when Crowley drives his car for the final time, the radio starts up where Aziraphale last left it when he parked it before the ball.

So Crowley is hearing that when Aziraphale was driving back from Scotland, he was playing their love song. Which he really can't handle right now, and turns it off.

BUT BUT BUT. How do I know it's their love song? If I'm right about it triggering the 1941 minisode/memory, then that means that the song was a record of that story, just like the book of Job or Aziraphale's journal, but it's been erased. Want to know which scene in S2E4 HAS NO MUSIC?

Yeah that's what I thought. Not a date my ass. ___________________________ *If you want, I have more on the 1941 Minisode and it's altered state in Episode 2 of this series.

#good omens meta #art director talks good omens #go season 2 #good omens prime #good omens season two #go meta #go2 #good omens 2 #good omens season 2 #go3 #crowley x aziraphale #aziraphale x crowley #crowley and aziraphale #aziraphale and crowley

[vin-taege]

spoilers!!!! hello!!! you asked for chishiya x reader request? can i request oneshot or headcannon of them reuniting in the hospital in the last episode?(they both were in borderland) so they were dating before and during and after borderland (maybe they were walking together in shibuya that kind of thing so they both are alive)

It's been a while so I might be rusty :') For this, I decided to set pre-borderlands reader and chishiya at the beginning stage of their relationship (think first date) so the reunion impact has much more oomf (in my silly little head, this makes sense). I hope you like it!!

What's Missing?

Summary: You had made a promise, but you can't remember for the life of you what nor to whom—but a certain blonde with a Cheshire smile may help you recall.

TW: blood, SPOILERS FOR S2

Genre: fluff, alice in borderland au, hinted established relationship

Pairing: reader x chishiya

Words: 1.1k

You couldn't feel your dominant hand. The pain had dwindled into numbness, but you were certain a silver bullet had dug its way in between the bones of your lower arm. Chishiya had managed to take his jacket off despite the blood pouring out his own side. Through his shallow breathing, he tied it it tightly around your wound, trying his best to ignore your pained groan.

The bullet-fire had stopped a good hour ago, leading you both to think that the King of Spades was long gone. But your wounds didn't stem from that game—it was from the godforsaken shootout Niragi started.

You and the blonde sat side by side, huddled behind a dented car Usagi and Arisu had dragged you towards. You tried your best to shift a little so you can face him better, bringing your other arm to press against his blood-soaked torso. He spared a small grunt, the only thing telling you that he was in as much—if not, more—pain as you are. His warm hand covered yours, the two of you trying to put pressure on his wound.

"___," he exhaled slowly. "Promise me."

You hummed in response, whispering, "Okay."

Chishiya let out a low chuckle, "I haven't said what for yet."

"You don't need to," you turned your head up, eyes meeting his. "I'll do anything for you."

He gave you a small smile—the type void of his usual snark. In a way, he seemed almost sad, fearful. "I know. Sometimes I wish you wouldn't."

The blood pool underneath you grew. You didn't know which blood was whose, and you'd rather not find out. 

"Promise me you'll remember," he quietly murmured. If you weren't paying attention you would have most likely missed it underneath the boom of fireworks, suddenly appearing the way they did when you first came into this wretched place. The familiar robotic voice greeted all surviving players with a congratulatory message, one you drowned out in favor of focusing on the only person that mattered: Chishiya.

"I promise. We'll find each other again."

Unbeknownst to you, your eyebrows knit together in worry upon seeing his paler complexion. The blush in his cheeks and the color from his lips have drained out, blooming on the cement instead. A dull spark in his deep brown irises fought to stay alive. You wanted to kiss him so bad.

You would've done anything to feel his lips against yours again, or his fingers in between your hair. Even inches from death, he looked so beautiful, but you were scared that the slightest touch would rip him away from you.

"That's all I need," Chishiya gave your hand a small squeeze, the light of fireworks reflecting off his cat-like eyes.

The disembodied voice in the background asked one last question, one you both knew the answer to. In a blink of an eye, everything melted away.

Disoriented, you found yourself back in Shibuya, waiting for your date outside a coffee shop. You blinked twice, as if waking up from a dream, the only thing grounding you being the buzz of the hundreds of people coming and going. From the corner of your eye, you saw the flash of platinum blonde hair—and felt the impact of the meteor immediately after.

   .❀。• *₊°。 ❀°。

The first thing you woke up to was systematic beeping.

Your body hurt all over, especially your dominant arm. With a glance, you realized that it hung in a cast. With enough effort and pain tolerance, you could still wiggle your fingers. 

Something was missing.

Your thoughts were interrupted by a nurse walking into your room, her small gasp catching your attention. She quickly scampered off to most likely find a doctor, but you couldn't have cared less. Your mind was stuck on somewhere—someone?—else. There's something important you had to do, but you didn't know what.

You needed to meet someone.

It would be days later when this thought would flash across your head. 

That's right. There was someone you had to see.

You've healed enough to roam around the hospital now, but you still couldn't be discharged because they had to monitor the fracture in your lower arm. The way the bones have splintered could've only been caused by a gunshot wound, which stumped the doctors because how on earth could you have been shot during the impact? 

Subconsciously, your walk has led you to a patient lounge area. Looking around, you saw a girl with chin length-hair laughing across a boy with long, shaggy hair, a small bandage stuck across his cheek. Other patients were scattered among the tables, some watching TV, others silently reading by themselves. That's when you locked eyes.

At the furthermost corner, a man sat with a set chessboard and an open pack of crackers. A flash of recognition sparked across your mind, and a part of you knew he felt it too. 

You promised something. Promised what? To whom?

Without breaking eye contact, you walked towards the bookshelves his table was placed next to. He raised an eyebrow, light blonde strands of hair framing his sharp eyes. You gulped, second-guessing yourself.

You promised.

Half-heartedly browsing the shelf, you picked a book out, halting when you heard the blonde clear his throat. 

"Your supposed to sign the logbook before borrowing," he nodded towards a bookstand, which was set beside a large window overlooking the hospital's garden. 

"Ah, thank you," you replied meekly. 

It was only when you were in front of the logbook that you realized: shit, you couldn't write. 

Struggling, it took you an embarrassing amount of time to properly hold the pen. You could feel him watching you, smirking at your helplessness. Weirdly enough, you didn't feel offended or annoyed. Instead, warmth nestled within your chest.

I promise I'll find you.

You had barely scrawled three letters when you felt his presence closer to you. You looked over to your side, slowly taking him in.

His hair was tied into a small ponytail, a few loose strands poking out. His eyes looked less cold upfront, specks of sunlight entrapped in the rich brown. He felt like home, like hot chocolate after a long day or the rediscovery of a childhood toy.

"I thought you needed help," his lips curled slightly, a boyish grin adorning his features.

You chuckled lightly, "Thank you. My name is—"

And before you even finished, he had written your entire name—as if he knew it by heart, as if it was an oath he'd held onto dearly. 

You tore your eyes from the paper, meeting his intense gaze again. He gingerly raised his hand, his heart yearning to reach out to you. He didn't know why but it all felt right when he first saw you. Everything was in its place.

You held his hand in midair, bringing it over to your cheek.

You've done this lifetimes before.

"Chishiya," his name left your mouth like a whisper—a wish scattered upon the heavens to come true.

"You were late to our date," you teased him. 

He snorted a little, eyes crinkling as his grin widened. "I'll make it up to you, I promise."

#alice in borderland imagines #chishiya shuntaro #chishiya alice in borderland #chishiya x reader #aib chishiya #aib imagines #imawa no kuni no alice #alice in borderland x reader #alice in borderland #chishiya imagine #aib x reader #chishiya shuntaro x reader #asks #requested

[amuseoffyre]

Since insomnia is kicking my arse of late, I naturally tilted into the thoughts about the nature of the 3-act structure and why S2 of OFMD may have felt off and incomplete to a lot of people.

I am fully in agreement that we lost a lot of valuable time with only 8 episodes and a lot of it did feel rushed, but for the amount of story and set-up and growth and development they needed to fit into 4 hours of television, they did astonishing things.

DJenks has said from the very start that this is a story that has been planned out to take 3 seasons. It's literally a 3-act play and we are currently right in the middle of the worst part of that timeline according to every traditional 3-act structure.

Act one/season one is self-explanatory. Like New Hope in the Star Wars Trilogy or Fellowship of the Ring, this is the set-up. We're introduced to our protagonists and antagonists, the relationships are given a foundation.

The beginning is Stede's journey to becoming a real boy. The inciting incident, the one that actually pushes his change beyond "playing pirates" is meeting Ed. The second thoughts come together in episode 8/9 after his confrontations with Jack and Chauncey and episode 10 is the climax.

Act 2/season 2 is never going to be as smooth and simple as act 1/s1. A big part of the A2/S2 job is set up for A3/S3 and this is what we're seeing and why a lot of story threads seem to have been left dangling.

Again, to call back to Empire Strikes Back and The Two Towers, the structure is much the same: the original batch of people are divided and scattered, the big enemy from A1/S1 is looming, new allies make themselves known. In SW, this meant the introduction of Lando and Yoda as allies plus the hint of the Emperor lurking in the background. In LotR, we have the Rohirrim, Gondor and the Ents as allies and the expansion of Sauron's forces in Helm's Deep, Osgiliath and the winged wraiths.

There's a clear trajectory following the A2/S2 structure:

obstacle 1 - the crews separated and struggling

obstacle 2 - the end of episode 2 and the repercussions of his actions

twist - just when things start to settle, the Ned Low situation happen and Stede kills for the first time

obstacle 3 - Ed's struggle with his identity leading to him leaving

disaster - Ricky's assault on the Republic

crisis - do-or-die battle because they have no other choice

climax - the last 15 minutes of ep. 8 live here.

As with SW and LotR, there's an ending, but weighted with the knowledge of a story that is meant to continue. Each of those act 2 films end with the heroes still aware of the looming threat, some of them heading out on new missions, and some of them resting and healing. There's brief pause, brief respite, a moment to take a breath.

We have all the characters in place now and the battle-lines have been drawn. Luke still needs to confront Vader (I see you, impending Ed and Hornigold confrontation), Frodo still needs to destroy the ring, Aragorn still needs to lead the army against the Black Gate, the second Death Star is still hanging in the sky.

I'm so excited to see what S3 brings because we have so many arcs ready to go: Zheng's vengeance trip, the inevitable enforced out-of-retirement arc for Ed and Stede, Hornigold, Ricky trying to maintain his tenuous control of the republic given how many of his people were killed when the crew escaped, the pirate rebellion gathering forces.

Also how often do we get shows/films where the supporting cast are given this much storyline? We have a named/speaking-role cast of upwards of 15 central characters. That is a staggering amount of people to work with, when most shows would only focus on the leads and a couple of their friends. Six is the average for most TV shows, while comedies can inch higher because ensembles, but most ensembles don't get as much as our crew did.

I know a lot of people aren't happy about Izzy's death. I know I would have liked to see him a lot more, because he's such a grumpy old bitch and I love him and him affectionately roasting Ed and Stede would have made my entire month. But I'm also aware that narratively, as a figurehead of the old ways of piracy and "we were Blackbeard", it was a symbolic death as well - a sign of the death of the old ways of piracy and of Blackbeard as was.

(Also, they Obi-Wanned him. I'm not over that. Gave him the "if you strike me down I will become more powerful" speech. I'm just... guys, your star wars nerdery is showing XD)

So while it was flawed in places and pacing, given the scale of the story they're telling, the number of pieces and characters they had in play, and the arcs they have been setting up while also still keeping the humour, I am giving a standing ovation for a remarkable piece of work.

#ofmd #ofmd s2 #ofmd meta

[indigovigilance]

Every single minisode is Aziraphale's memory, and why that's [not?] important

There is extensive meta-analysis, my own included, that Before the Beginning is a doctored memory resulting from erasure of Angel!Crowley, and that the trace of him that is left in Aziraphale's memory is the Starmaker, so that this is what we see at the opening of S2. With this foundation of "some scenes are altered memories," we can critically examine the minisodes and see that, in fact, they are ALL Aziraphale's memories that are potentially subject to doctoring.

Evidence (and exploration) below the cut:

A Companion to Owls

The largest part (S2E2 22:10 to 44:00) Book of Job flashback is book-ended by Aziraphale leaning over the physical Book of Job in his bookshop. We enter the memory when Aziraphale enters it, we leave it when he leaves it. Pretty straightforward.

The Ressurrectionists

Similarly, in S2E3, we begin the first flashback to 1827 with Aziraphale's "dear diary" entry. We flash out each time to Aziraphale: in the car to Edinburgh, getting out of the car at the Ressurrectionist Pub, and with Aziraphale staring up at the statue of Gabriel while standing in the graveyard in Edinburgh, respectively for each of the three flashbacks. This all strongly indicates that we've been in his memory.

Nazi Zombie Flesheaters

I didn't even notice until I was doing research for this that basically the entire episode takes place in 1941. From the end of the main title at 5:00 to 37:50, we never come out of the 1941 story. But what is interesting is what bookends this minisode.

Before the main title, Shax has tricked her way into Aziraphale's car and alludes to a time when a rumor started about our ineffable husbands:

Sometime in the last 80 or 90 years I remember hearing that you and Crowley were an item. I didn't believe it then. Not really. Poor old Furfur.

And when we flash back to modern day, we first go to Hell with Shax proposing a full frontal assault on the bookshop, and then we get:

Aziraphale has arrived back in SOHO, and has spent the 8 hour drive reminiscing about what Shax alluded to.

But this part gets even weirder. Because the final line of the episode is:

You're really hosting the meeting? Absolutely! And I can guarantee you: it will be a night to remember!

What this means in context of the 3 memory sequence

This line has been taken by a lot of analysts as a reference to A Night to Remember by Walter Lord, a collection of first person accounts of passengers of the Titanic. Most notably, the thematic ties of this work to the cinematographic design of Good Omens are captured by this quote:

A key to Lord's method is his technique of adopting an unconventional approach to the chronology of the event, "[taking] an imaginative approach to time and space in which hours and minutes prove extremely malleable, the ship itself seems almost infinitely complex, and the disaster assumes order and unity from far away."

Which is an amazing connection, and probably true, in that it was a deliberate reference by the writers. "Malleability of time and space" describes well how this show is put together for us the viewer. But it also illustrates how Aziraphale experiences his relationship with Crowley; skipping over centuries at a time, while dwelling on and protracting intimate moments spent together, create a cohesive whole when viewed from a distance. That whole is their relationship. [Which is about to go down like an unsinkable ship.]

But absent the literary reference, we could even take this line for its literal meaning. Aziraphale is talking about forming new memories, after we have spent the last three episodes living in his memories of times with Crowley that were key to shaping their relationship. This isn't a S1E3-style series of allusions to a furtive, flirtatious, and organically blossoming intimacy; these are rough events where the two are shoved into moral quandaries and forced to make some really difficult decisions that bring them closer together and define "their side." These are core memories, and incredibly precious to Aziraphale. And now, after a few short days in which he has spent a lot of time ruminating on these intense memories, he is embarking upon the task of making another important memory, that is, dancing with Crowley.

Why We Care

Because memories can be altered, all of the information we get from these episodes is subject to a reliable narrator problem. As of the Gabriel trial, we know that memories can be doctored even when the person in question isn't present. Crowley knows that his memories have been removed or altered, and has put painful effort into retrieving them. Aziraphale may not realize that he has suffered the same fate. These memories that he holds so dear might not even be true.

Memory, Identity, and the Relevance of Fidelity

We would probably expect to get some "corrections" to these memories in S3, to see exactly what kind of manipulations our heroes suffered and what that reveals about the motivations of the perpetrators. That's how a paranormal mystery story with a memory manipulation element would normally proceed.

But it will be even more significant if we don't; it would speak to a philosophy-of-self that you are not the product of your objective past, but of what you remember, and so we don't get to know what actually happened because it doesn't matter to informing us about who Aziraphale is.

Aziraphale's love for Crowley springs from what he remembers about their shared past; it doesn't necessarily matter that the memories aren't true, because the love is.

~~~

I realize that I kinda buried the lead, so if you reblog, please tag appropriately? I'm taking suggestions.

If you want to read more on this topic, this meta by @ineffable-suffering is a good place to go.

#good omens #good omens 2 #good omens meta #aziraphale #crowley #memory #good omens memory #erasure theory #ivoc

[starbylers]

I will always struggle to understand ‘Mike and El were planned endgame from the beginning’ when the show was originally intended as an anthology and they weren’t supposed to get this “happy romantic ending”? (I know this has been said but bare with me).

Yeah, they changed their direction during the making of s1 but the Duffers’ initial conception of the ending was for El to die: the original idea was never a story of this super deep romantic couple in love that people have turned it into. They didn’t sit there while brainstorming and be like yeah we want to tell a story about a middle-school-esque relationship that actually is true love and they stay together forever:

And of course ideas shift and develop over time, but the implication that M*leven endgame was inevitable and obvious and conceptualised from the very start is so inaccurate. They just wanted the story to be more open-ended to allow for a s2 continuation, that doesn’t mean they changed how they envisioned these characters and their dynamics. A genuine love story clearly wasn’t what the Duffers were interested in telling here, hence the ET/Elliott comparisons.

That was always the vibe they were going for with Mike and El. You can tell that when they discovered they would get more seasons, they took the roots of that M*leven puppy crush storyline and expanded on it to realistically depict the effects of both their trauma on how they perceive each other and (in s3) the comedic disaster that would be these two characters trying to date.

Like they find out they’re getting season 2, and they’re just like yep let’s keep these two apart until the last episode and have Mike bonding with and protecting his (gay, from the very first pitch) best friend. People loved M*leven after s1, and the Duffers must’ve known it would be a risk keeping them apart the entire time, but they wanted the Mike and Will storyline for a reason, so they did it!

Like actually process that when they discovered they were getting another season, romantic M*leven was never a priority for them. Showcasing Mike’s survivors guilt and El’s trauma over losing the first person to provide her real safety definitely was, but they nipped any opportunity of developing their relationship in the bud. And instead made Byler inseparable, giving them numerous sweet and intimate moments. They know what they’re doing.

#byler #anti mileven

[dontfuckingestablishcanonicalbac]

s3 of rnm is like crack to me it's so fucking good like you begin with an episode that completely undermines the remorse rick showed at the end of s2 and he settles in as the most powerful person in the family, with jerry gone, beth perpetually forgiving him and morty and summer at his heels for adventures, and that power lasts for all of one episode before the dysfunctionality of this new family setup begins to get too much for him. he's barely able to make robot copies of himself summer and morty that are competent enough to last while he drags the two teens back home, and then after that it's L after L till the end of the season.

he nearly dies in pickle rick over something extremely petty while a therapist sows the seeds in morty and summer's minds that rick isn't nearly as deserving of their respect and attention as they might've thought

in vindicators he makes a complete ass of himself because morty doesn't see him as his hero, and in doing so he further tarnishes his own image in morty's eyes

in the whirly dirly conspiracy rick nearly dies because of jerry, of all people, meanwhile back home it's revealed that morty is so sick of rick (because of the vindicators thing, but also, like, everything) that he faked concern for jerry just so rick would orchestrate this pity adventure and leave him alone for a bit

in rest and ricklaxation rick fucks up so badly that he takes himself and morty on a vacation, comes face to face with his worst qualities, and spends the latter half of the episode with his attachment to morty permanently on his sleeve while he vehemently denies its existence

ricklantis mixup isn't about rick c-137 but it's a citadel episode with evil morty what more do you want

in morty's mind blowers the worst memories of rick and morty's relationship leads them to try to kill each other then enter a fucking suicide pact

in the abc's of beth rick is asked by beth if he wants her in his life or if he wants her to live up to her potential, and we later find out that he was so unprepared to have any sort of emotional confrontation with her that he erased the memory of the decision he made

and in the finale he is finally knocked down from all of the pegs he hangs on while he does a dick measuring contest with the president. morty loses respect for him, beth and jerry get back together, and now everyone in the family is keenly aware of how manipulative and awful rick is. they keep him around, but nobody is letting him act the way he does unchecked anymore

this bitch tries to ascend to godhood and ends up falling further down than where he was at the beginning. it's addictive to watch. best season.

#rick and morty #rnm #a lot of this post is inspired by the cj the x video but like. man cj the x rally hit the nail on the head fksnxjjf #so it bears repeating

[moonah-rose]

What I love about Ghosts is how much of a slow burn the enemies to found family is. Yes there's a pretty big leap from "tried to kill her" to "forced allies of convenience" in the first two episodes, there needs to be to set up the premise, but after that there's such a gradual build up to a real cosy feel in the group.

It would have been so easy to have this dynamic reach its peak by the end of S1. There's a few soft moments like Alison talking to Pat's family and the Friends sofa bit outside but only after Pat explains to her how important the moonah ritual is to Robin. But it's not enough to make them that close yet and in the finale the ghosts mostly want Alison to stay for their own convenience, except Kitty and Thomas, with Fanny only just beginning to accept Alison is part of her bloodline. Captain still wants them gone but concedes to help them stay more for the others. Alison is touched by the gesture of the jewel but still admits that it's a nightmare living with them and wants to leave - and only stays because Captain screws her over via manipulating Kitty.

S2 starts with her waking up and sighing about how she's still "living the dream" (aka her nightmare). However, so we're not quite on the same page as last season, she has now established a routine with the ghosts and knows what each of them need. There's a feeling of comfort beginning to creep its way in, even if they still annoy her. And they're still not willing to help her at the drop of a hat, especially Julian unless he can get something in return, and some will go as far as to work against her when she's trying to make the house look haunted. Had the Grey Lady episode took place in S5 you know they would have all jumped at the chance to help Alison whatever she asked. But this series has a lot more episode focused on Alison connecting with the group like learning about how Thomas died and the Captain's past and Kitty's kinda sad childhood, so it feels natural and heartwarming when they all come together to help protect the house from burglars for her and she appreciates out loud how they're not as selfish as when she first came there. And they all do what they can to help with the wedding, partly for it to be a success for Alison but also just to help. Honestly on my first watch, with the snow and everything, I thought that was the Christmas special! So it lead in nicely to the actual one. Because the gang are finally at the stage where Alison would be comfortable spending Christmas with them and they all come together to sing with her to make her happy, even Robin who thinks Christmas is just a recent fad.

Series 3 is where that leap from friends to family happens and is contrasted with Alison thinking she's found a long lost blood relative, which she confesses is something she's wanted as she never had a lot of family around her. I like that they didn't have Lucy be her actual sister that turned out to be a villain, as we already have an abusive sister with Eleanor, but it still serves as a parallel between her and Kitty to make Alison realise that she has found a sister, and more. Robin saying "welcome home" and the look on Alison's face is enough to let us know this is no longer just a project for her with some annoying pests to deal with. And the final shot of them all "eating" together is one of my favorites.

The show could have easily ended there if it wanted to. Or it could have gone on another two seasons with everything being perfect and wholesome. But it doesn't; because families are not perfect. We still have an episode centered around the ghosts trying to apologise for upsetting Alison, much like a bunch of kids with an overworked mother, and they want to make it up to her not for their benefits but because of what she means to them. Episode 2 also has Alison missing feeling needed by the ghosts when they're busy doing their own thing and realising she just wants to spend time with them, even if it's just something as simple as a walk with Robin. And when Mary passes on, Alison is absolutely devastated and puts aside her work duties to prioritise helping the other ghosts grieve. Then there's her joining (evil) forces with Julian to take on Barclay together. And the series ends with Robin, who began the show just enjoying scaring the shit out of Alison for the lulz, confronting his ten thousand years old ptsd and taking a bolt of lightning to save her husband.

That's four years of development. Compare this to the CBS version where they all click together a lot faster and we don't see nearly as much of Sam losing her temper with the ghosts, and plots always seem to be wrapped up so much quicker (the fact there was no apology from Thor for possessing her still irks me). This isn't necessarily a knock against the American version, their episodes are ten minutes shorter because of ads, and it's more of a style choice as well as Sam just being a far more patient character than Alison. I know a lot of people prefer that the show begins a lot more wholesome to start with so it's down to taste. For me the heartwarming moments mean so much more when they've been earned over a lot of struggle.

Take the climax of Series 5. It's one of the few moments of TV that have made me gasp out loud. I genuinely forgot that we never saw Alison find out Julian pushed her. I guess I assumed she found out off screen or worked it out when she realised Julian's ghost power. But it really was the perfect point for her to find out; because had it happened any earlier then she wouldn't have hesitated to leave with no amount of speech able to change her mind, and likewise Julian wouldn't have had anything to say to her. But as someone else pointed out, it's much more difficult to forgive someone you love for doing something truly evil, even if at the time you were less than strangers. It's a crushing betrayal for Alison to find out that someone she thought as family once tried to kill her but also that the rest of them kept it secret. There's no obligation or pressure for her to forgive them; but she chooses to, because it's been earned over more than three years. And to parallel the S1 finale, the other ghosts are desperate for her to stay (including Cap this time), no longer for their own convenience but just because they love her.

And now we wait in terror for the Christmas episode to rip all of it to pieces. 🥺

#bbc ghosts #ghosts meta #alison cooper #found family #julian fawcett #kitty higham

[yangsharperavery]

there's this thing that carmy and sydney do that i don't see talked about alot in that, they heavily mirror and mimic each other verbally.

this is a common behavioral thing that people often do to become emotionally/mentally closer or endear someone to them.

sometimes it's completely unconscious, sometimes people do it on purpose. it's also an effective communication tactic.

we've spoken a lot about how they seem very much on the same wavelength when it comes to fine dining and their respective training and their vision for a more cohesive, cooperative space.

since last season, they share the same brain, finish each others sentences, have similar ideas, etc.

but there's this element of mirroring and sameness that occurs when they're speaking to one another that's not only about strengthening their communication, avoiding explosive misunderstandings and reassuring the other that they're with them and hear them...

but moreso that they're the same as them.

very much "i see you in me, i see me in you" type energy.

on some real "i am you, you are me, we are one" type time.

like, let's merge more than just our brains type shit. maybe our energies and souls? merging the bodies can come last.

in every single episode that these two share screentime/space in s2, they mirror/affirm each other in speech (they often mirror in body language, which they also did last season)

in the first ep, at the lockers, carmy says "you gonna leave early?" to which sydney says, a few lines into their exchange, "we can go home early."

he also repeats exactly what she says back to her before she falls through the wall, after she's fallen through it.

in the second ep, while they're cooking, it's the "you can tell me to fuck off," "i doubt i'd tell you to fuck off", later he has a question and repeats back to her "and you can tell me to fuck off."

in the third ep, during the exchange about the wall it's "you let me know," "i'll let you know."

in the beginning of the fifth ep, sydney says "standard operating procedure" to cicero, right in front of carmy, a scene later he says the exact same thing back to her in front of natalie.

and of course the "goodnight" "i'm saying goodnight" exchange at the end of that ep.

their verbiage in certain heightened or vulnerable situations being damn near identical and then parroted back to the other seems very intentional.

almost as if you could swap his dialogue for hers in the script during these specific scenes/parts.

during their argument in ep eight, regarding the chaos menu (& claire!), they start riling each other up and sydney goes for the "sorry" sign, she then says to him, after apologizing, "i'm tired. i've been tired but i'm just really tired."

and then carmy repeats her "sorry, sorry, no, i'm sorry, i'm tired."

they're literally verbally affirming to one another, that despite the physical, energetic disconnect, they're feeling and going through the same thing.

the same stress, anxiety, uncertainty, doubt and discord just not directly with one other because there's this huge gap between them and how this vision is going to be realized (mostly because of carmy's avoidance after spending time with claire while still attempting to give sydney what she wants.)

see also: "i'm trying..." to "i know you're trying, i see you're trying."

she echos and affirms him even though she's more than justified and correct in being upset with him.

in ep nine it's the much discussed and infamous, "you could do this without me" "i couldn't do this without you" back and forth.

on the immediate heels of sydney proclaiming she doesn't like/doesn't do the corny back and forth thing.

but my good sis you've literally been doing that with carmy in at least every other conversation for the ENTIRE season?!?!

she just doesn't realize it because it's usually being done when they're opening up/being vulnerable, fighting or affirming/reassuring one another.

it's even more amazing to think that this is occurring while they're apart for practically the entire middle part of the season.

but when they do have moments where they come together and discuss anything, there's this overt mirroring/echoing/parroting in their communication.

the implications are even more heightened when you think about how they don't/can't reassure each other physically.

carmy's touches are ghostlike and fleeting, i'm almost surprised he allowed himself the two that we saw this season.

we talk a lot about how the narrative obviously parallels them visually.

but the verbal echoing is not only indicative of their connection and their devotion to one another, it's also another way for them to directly parallel one another in the moment, while they're both on screen, to each other's faces!

again, very much a "i see you, i am you, i have you" energy is naturally imbued in these moments because of this type of communication.

because using this method of verbal repetition is psychologically anchoring and can be inferred almost like an attempt to merge yourself as close as possible to the person you're mirroring.

or at the very least (subconsciously) acknowledging and understanding that you're already damn near identical.

#sydcarmy #carmy x sydney #the bear fx #the bear meta #sydcarmy meta

[my-rose-tinted-glasses]

Rose Recaps 2023 - Japan

So, because I have a hard time making big lists and choosing favourites, this my version of a superlative post, by country.

The one that had me at the first frame

If It’s With You | Kimi to Nara Koi wo Shite Mite mo

As soon as Amane appeared on screen I was gone. This damaged but confident boy had my heart from the beginning. But it was Ryuji that ended up with a bigger piece by the end. The way he saw Amane’s mask from the beginning and just went – “you don’t need to do that with me”. And the way he considered Amane’s feelings even when he wasn’t sure what to do or how to respond, or how he was feeling about all of it, was just beautiful to witness and at certain points kinda reminded of Ida.

Favourite Moment: Amane confessing and running away. Because visually it's so striking. The way he's running from the light that is Ryuji.

The one that was perfect and I never saw coming.

I Cannot Reach You | Kimi ni wa Todokanai

I think that by now at least some people know how I feel about Japanese BL. I love it so much. And for me it’s always about the characters. Whether they are the embodiment of chaos, like Aoki or they are just incredible complex and empathic humans like Ida. - Yes, I’m using Kieta Hatsukoi every chance I get- I just love the way all these characters are written and portrait.

I loved these 2 boys in equal measure all throughout the show. I might have a soft spot for Yamato, but that’s only because pining boys are my weakness.

Yamato’s back and forth in his own head about what to do would be annoying to me in any other show, but it was so well done, and we were privy to his thought process throughout that it just made me feel for him deeply. And Kakeru learning about Yamato’s feelings right away in the first episode was a great choice, because he gave the show time to make the reciprocity more believable.

Favourite Moment - The exchange of gifts at the door. I love the nervousness that the two of them are feeling in this moment.

The one where I gave in.

My Beautiful Man S2 & Eternal

Confession time. This was not love at first season for me. I don’t argue quality overall and much less the acting of the show, but it just didn’t click for me.

There were some truly great moments in the first season but there was a disconnect between my heart and my brain. This happens to me sometimes. Like I watch something that is objectively good but it doesn’t reach me.

That all changed with the second season and the film. I finally connect with Hira. Don't ask me why, I don't fully understand myself, but it happened right at the beginning of the season. I think perhaps it was because I started seeing more from Kiyoi pov, because before I was absolutely clueless about what he saw in Hira in the first place. Sorry if that sounds harsh.

I don't blame the show for this, as I said, I think all the elements are there, it just didn't connect for me.

Also, the film was gorgeous to watch. Several moments (specially the sequence where the gif is from) were so well shot and edited that I'm happy I went in already with a positive mindset.

Favourite Moment: The one from the gif. I'm a sucker for a drastic visual change when the moment calls for it.

The one that had me question if watching it was good for my mental health.

Tokyo in April is | Shigatsu no Tokyo wa

Ok. I love this show. I love Ren. But this was a hard watch for me. Every week I had a struggle between two sides of me.

- Don’t watch it. It will be sad and you will be sad because of it. - But the last one was sad so I need to watch it to see if there’s happy. - Why not just wait? - Because I started already, so now I can’t wait. - But in this case binging is best. Cause for sure the ending is happy so you won’t be sad for long. - Yeah, but I need to see more now. And there’s a new episode waiting for me. - Fine. Just press play. After the episode. - I really shouldn’t watch this one live. (all this repeats the following week)

It was beautifully acted, there were some outstanding moments, the past was as tastefully done as it could be given the subject matter, and in the end my heart of full, but slightly damaged with the process.

Favourite Moment: Ren finding out Kazuma had been looking for him.

The one with all the magic.

What Did You Eat Yesterday? | Kinou Nani Tabeta? S2

I already wrote how this show made me feel in another post. So I’ll just say this.

EVERYONE NEEDS TO WATCH THIS SHOW. NOW. If you haven’t, stop reading this and go. GO. NOW. Start.

There is magic here and you don’t even know.

Favourite Moment: ALL OF THEM. But really this one.

Shiro. Just Shiro.

Well, I'll try to write the next one in these next couple of days. Wish me luck.

Thanks for reading💜

#Rose Recaps 2023 #kimi ni wa todokanai #kimi to nara koi wo shite mite mo #i cannot reach you #if it's with you #kinou nani tabeta #tokyo in april is... #shigatsu no tokyo wa #utsukushii kare #my beautiful man eternal #rose rambles

[d0v3uae]

okay, i was just rewatching season 4, and i realized something, remember this scene in the airport right in the beginning of the series? Mike says “i handpicked those for you in Hawkins” most likely he got those from the field that we also saw in the end of this season, and the one of the very first scenes in season 3. now, i was watching the very last episode, and the very last scene, and i noticed when el was walking forward, she picked up dead flowers, specifically the same colors Mike got her as a gift back in the beginning (yellow and purple). this means the fall/deadness of their relationship, because as we already know, they are NOT on good terms. i mean i really tried to like their ship, but i just cant see it without being toxic, and having communication issues for example: El felt the need to lie about her life and Lenora, and how she had friends, and everything was good. why would she need to lie? shouldnt they trust each other and tell each other things like this? And back in the beginning when Mike tells Lucas that they dont want to be popular, and the airport scene when El says that she wants burritos for breakfast, Mike says something like “really? no i mean i trust you,” that scene to me meant that Mike was very awkward, and not acting like himself. and not to mention but Mikes outfit was not himself AT ALL. Argyle says “oh no its a shitty knockoff,” meaning again, that mike is acting like someone hes not in front of his girlfriend.

now, i wanna talk about the roller rink incident, because there is a LOT more stuff going on then what it seems. so basically Mike and Will are fighting while trying to find El, and Will says “well what about us?” and Will DID NOT mean this romantically, but Mike took this romantically?! Will meant it as “Ok i get it, you have a girlfriend, but what about our friendship?” Mike took it as romantic, which is why he said “We’re friend! We’re friends!” and the fact that he said it two times is also insane, and his tone of voice when he said it was so tense almost. when people in other shows/movies say they are just friends, they most if the time end up as an endgame couple. for example: the office, Jim and Pam, they both had crushes on each other throughout the first seasons, but oh look they were an endgame couple, and even got married. what im trying to say is, Mike took it romantically, when Will didnt.

And another thing with this fight, is that as soon as Mike said “We’re friends” the song “in the closet” started playing, and some people think “oh its because Els in a closet” which yes, in a way, but it was an employee’s shed. and also this song started playing RIGHT AFTER Mike assured that they were “just friends” little sketchy right? And i also just wanted to point out that after Mike said that, he saw Wills face and immediately knew he made him sad, and we can see the tension in his face almost disappeared.

now right after the skate incident, El, Mike and Will were all standing there in a triangle if i may point out, but anyways, we can see Will reacted normally, he said “oh my god..” but Mike reacted very aggressively towards it. and the camera pans over to El sitting alone at a table, and Mike and Will are right next to each other. really quickly, i wanna point a few things out. when angela takes el onto the rink, we can see Mike not care, hes just like “meh” but Will knows, so he stands up and says “oh no” which directly after he says that, he stands up so quickly, but this is weird for me. because Mike can sense when something is wrong with Will, but not El. because we see that when angela comes over to the table they are sitting at, it is very tense but Mike doesnt really notice, but Mike notices when something is wrong with Will almost IMMEDIATELY. and this is proven back in s2. so Will is closing his locker and Mike says something like “come on” and Will looks worried or even tense, and Mike immediately notices, because he says “what” many times and not to mention in his soft voice that he only uses for Will. so i think this means Mike understands Will and Will understands Mike.

i think this might be foreshadowing to the break up to Mike and El in season 5. so, once again. BYLER ENDGAME!!

#byler #mike wheeler #mike wheeler is gay #will byers #byler endgame #byler is canon #byler kiss #byler nation #byler tumblr #stranger things #byler analysis #mileven break up #anti mileven

[raayllum]

One of the things I love most about Claudia is, quite frankly, how steadily and consistently Fucked Up she is, for lack of a better term. She comes up with the switching spell (an early sign she’ll surpass her father as a dark mage) but unlike Viren, can’t understand Harrow’s reservations about it. Which makes sense, as dark magic is inherently transactional as viewpoint. This ties into her wanting to take Runaan prisoner to be dark magic parts (“Yes! [Dark magic] is clever, it’s brilliant, it’s practical!”) not realizing that in terms of viewpoints, she has a lot more in common with the elf than differences. She lights Harrow’s body on fire with dark magic (reminiscent of using Sarai’s last breath for the vengeance spell she never would’ve approved of) with the framing aligning her with Viren to boot. 

She believes that Rayla could never be a good person because 1) she’s a Moonshadow elf and therefore just isn’t a person (or worth exceptionalizing as one yet) and 2) “She kidnapped you and Prince Ezran, how can she be good?” when Claudia is going to attempt to kidnap the boys the very next episode, but in her mind this is somehow salvageable, because it’s Necessary, isn’t it? It’s what her father wants.

But even her father’s dead set wishes aren’t a steady foundation, as Claudia has a habit of steamrolling over what her family wants when it’s things that might separate them from one another. She won’t let Viren let go, she won’t believe Soren about the princes when Viren offers up a solution that lets her keep her whole family together rather than having to choose her brother over her father, even if that means harming her brother. And she steamrolls because she thinks by physically fixing the problem (Viren’s death, Soren’s paralysis) the emotional issues (Viren’s trauma and panic attacks, Soren’s epiphanies) won’t continue to manifest; of course Soren mis-listened, of course Viren can go up the mountain. Never mind the consequences, never mind the pain; she fixed it. What’s the problem? (And of course, this sense of perfectionist preparation - “Gee Claudia, you’re so prepared, you’re the best” - alongside her smugness - “Wasn’t taking down a dragon one of your life goals?” isn’t sustainable or healthy for her either. We see how she panics and loses it when she isn’t prepared for a situation, and how the desperation drives her down deeper into the dark.) 

Even after Callum begs for her to let them go and after attacking Ezran multiple times, upon being a prisoner in her own home Claudia mandates that “We didn’t do anything wrong” (which is a far cry from Rayla’s response to her homecoming: “But you didn’t run. They have it all wrong” “Does it matter?”). Where Soren begins to question and defect, knowing his truth, he works to get Ezran out of jail whereas Claudia is conflicted but ultimately able to justify leaving him there, and able to justify staying when Soren leaves. With two years of only Aaravos in her ear, she’s gotten even worse, even more prejudiced against elves and dragons than she was before, save for her exceptions (Terry, Aaravos). And if even Terry is calling her out on her cruelty, and admitting that she did terrible things, then you know they were probably pretty awful for an elf who doesn’t bat an eye at his girlfriend slaughtering baby animals (hi puffer bats and baby deer). 

And at the same time, it’s not as though Claudia isn’t goofy and loving and compassionate. She loves ancient ruins and cuddling with dogs, she does feel some kind of way about seeing Callum again, she doesn’t just cut Terry loose when his life is put in danger and it’d be easier too - she genuinely loves him. Like I said all the way in the first few months after S2: 

I’d also like to say that this does not mean Claudia will not be redeemed. She does love people, has the possibility of using magic (Dark or otherwise) for good, would do anything for her brother (although only S3 and time can tell), and could be a reformed, more compassionate, fully rounded and loving person in the future.

Redemption is not out of the cards for her, whatsoever.

It’s just going to be a very long and hard road to get there.

#tdp claudia #tdp #the dragon prince #arc 1 #arc 2 #multi #anyway i love her #ppl really out here like 'i sympathize with this character. therefore she can't be a villain' #i SYMPATHIZE WITH VIREN & AARAVOS TOO THEY'RE. STILL VILLAINS #thought of u sage-nebula #claudia #text post #mine

[iamadequate1717]

OFMD S3 (Manifesting!)

I think we've all seen Casey Bloys' comments on an OFMD S3:

“What’s a little bit different in a linear world than here is… how a show performs over a longer period of time than three weeks or something,” Bloys stated. “So we’re figuring out how it’s doing, what it’s looking like.”

My reaction:

Really, HBO? HBO, after running one of the worst, most spoilery, most front loaded marketing campaigns I have ever seen, wants to talk about the long term?

The question that was driving everyone feral for an S2 was, will Stede and Ed find each other again? HBO/MAX put their first face-to-face meeting in the trailer. Why watch the show when the marketing will just toss a greatest hits reel out to the public before the episode even releases?

The showstopping set piece of 2x3 (MerStede rescuing Ed) was spoiled in their "marketing" since they released the concept art for MerStede days before the episode aired in a BTS video.

Let's look at the finale:

The beach kisses and the inn were spoiled in BTS videos released days before the episode was released after putting a week between 2x7 and 2x8 releases. Yeah, yeah, they didn't show the kisses exactly, but what else would that pose be for? It really enforced that 2x7 and 2x8 should have been released together, but HBO/MAX choose to create a cliffhanger while immediately posting the resolution in their marketing

Ed thinking Stede was dead was spoiled by the episode promo

Ed and Stede running toward one another on the beach was spoiled by the trailer. (It didn't show them in frame together, but it was obviously the same location and the direction they were going in matched.)

Ed reading one of Stede's letters was spoiled by marketing a few days before the finale release for no discernable reason

Izzy's climatic speech to Ricky (and that he was saying it to Ricky!) was spoiled in the trailer. It could have been a good hype VO, and they didn't need to spoil whom Izzy was talking to

The crew in the British garb and taking out soldiers was in the trailer. This plot begins nine minutes before the credits start.

The Revenge Crew working with Spanish Jackie and Zheng at some point was well spoiled beforehand in their BTS promo material. Zheng saying they should team up is three minutes before the credits start.

(Has anyone seen this amount of BTS material of episodes, including the season climax, released before an episode releases instead of after? Just holding this BTS material until after seems like a no-brainer to extending a show's interest after the finale is released.)

The reason the pacing felt super "off" on your first watch is because HBO/MAX already released a bulleted run through of the episode beforehand, and you were mentally ticking it off as you went instead of watching it organically. Watching it a second time really improves the flow of the episode.

This is a show whose popularity was raised created entirely through word-of-mouth excitement. The greediness of these streaming companies is why we couldn't have the actors doing promo, but then they took away the show's next most powerful tool, the word-of-mouth discussion, by releasing large swathes of the climax of the season before it aired, and the social media hype and discussion was front loaded to before release instead of after.

S3 was set up to show Ed and Stede as a solid couple and to show the pirate community against the British, and the season climax of these two points was released by HBO/MAX before the episode, and it was excitedly discussed then. Now, a week after release, we're stuck in some horrible gravy basket of discussing the part of the last five-ten minutes that HBO/MAX didn't outright spoil (though they tried their hardest with the grave promo stills and Ed's bloody hand in the promo!): Izzy's death. No one is having fun!

There is a lot of story setup for an S3 but DJenks and company had to set up a season that could double as a series finale in a pinch, so we also lost the "What happens next??" fervor because HBO/MAX wouldn't greenlight two seasons at once of their biggest new IP of 2022. The bizarre marketing strategy didn't lend itself to a long term success, and it's up to the fans once again to do HBO/MAX's job for them.

#ofmd #our flag means death #ofmd s2 #ofmd 2x08 #hbo max #ofmd s3 #renew as a crew #talk it through as a crew #ofmd meta #renewal gravy basket #ranty rant rant #ofmd s2 spoilers #is it worth tagging s2 spoilers anymore?

[thesiltverses]

Hello! Just wanted to say, and hopefully this isn't an odd compliment to receive, how much I adore the episode titles of the silt verses. One of my favorite things to do after I get someone to listen to tsv is point out that the episode titles make a poem when you read them back to back. It always tends to blow their minds and I get great satisfaction from seeing their reactions. What I especially love about them is how they can stand on their own and reflect events of the episodes while still connect with one another to make a bigger picture so to speak. (For example, how Faulkner and Carpenter's reunion episode in s2 is titled "But We'll Never Be Rid of Each Other" to reflect their relationship as two people that can't seem to untangle themselves from each other, for better or for worse ((and how this title hangs over the episode ominously when contrasted with how happy their reunion makes listeners, as if just waiting for events to come)), but then connect it to the next title "My Song, My Sorrow and I" and it slightly changes the context where it feels more like it examines the characters' various complicated relationships with their gods)

(Though, on a tangent, speaking of episode titles and how they match each episode, I think constantly about "One Final Fall From Grace" with Faulkner and how it's the episode where he loses all but one of his acolytes, idk there's something about it that gets me so bad/pos)

I was wondering how you go about deciding on episode titles? Has the poem already been written out since the very beginning of the show? Is episode order dictated and determined by said finished poem? Or am I overthinking how each line fits each episode? What made you decide on this format compared to I am in Eskew's episode naming convention? Sorry for such a long winded question! I just cannot overstate how much I adore the episode titles, sometimes I'll go back and read everything all over just to hear the words.

Thank you very much!

So the plan was always roughly along the lines of:

Season 1 titles begin by trying to outline a kind of epic poem, then get distracted by describing its hold over the poet

Season 2 titles are about the poet's yearning to be free from the poem, but ultimate acceptance that their fates are entwined

Season 3 is about the realisation that the poem will outlive the poet.

Beyond that, there's generally plenty of flex and it remains a semi-spontaneous act of play - like you say, I might think I have something in mind and then realise at the last minute that another line works better for the themes of the ep (and sometimes there's no thematic relevance at all and it's just filling in a necessary rhyme to keep the whole thing going).

This leads to imperfections and a bit of a shaggy-dog story feel - if I could go back without confusing everyone, I'd correct the very first ep title to 'First I'll Sing Of Revelations' so the terminology is consistent - but I like imperfections, and I like shaggy dogs.

As to why? It just felt like a different way of being playful; the Eskew titles were fun for me because of their simplicity (I have vivid memories as a very young kid, not being old enough to be allowed to watch the video-tapes of Blackadder II, all of which had really evocative, teasing single-word episode titles - 'Head', 'Money', 'Potato'. So I'd just sit back on the floor and imagine what those meant.)

But for TSV, it felt appropriate and fun to begin with these trappings of epic storytelling and religious verse in the episode titles, and then gradually pan outwards to show that it's more of a story about being entrapped by stories and the impossibility of escape.

[sonkitty]

Crowley S2 Hair Post #22

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 1, The Clue, so were the goats

...

Hairstyle Notes

The red hair is not as fluffy and a little longer compared to the earlier minisode portion that started off the episode.

This style is what most closely resembles a "human" reading with short sideburns from the season 2 present day. Crowley is with two humans and no supernatural beings. The humans assume he is human during the scene.

Even though it's the accessory on the head, even the headband itself changed with its appearance in the back. While that looks to be a continuity issue, it's good to keep in mind that Crowley can control his own appearance so is likely mixing this headband appearance with the reading from the space.

...

Earthly Objects

(For reference: Earthly Objects)

Job sits on the ground against some rocks. Sitis touches her own clothing.

Crowley likely receives credit for a miracle touch on a human when he says, "You tell me," and hisses at Sitis. This action looks like compelling someone for an answer though that answer is something Sitis herself decides. The name, "Bildad the Shuhite" is then said.

That name is his alias for these two. It's a human name from the Book of Job itself, and it's going to be reused later when he has this same hairstyle. While these circumstances are understandable in the context they happen, it's also a clue about the potential rule that Crowley isn't allowed to say his own name for any time period during the entirety of Good Omens 2.

Crowley has several questions when first talking to Job. Job says Sitis' name. They both say "God," in a way that I think qualifies as a name.

It's hard to really see much in the way of pockets. Everyone's separated and contained in their own cuts for most of the scene.

While Job and Sitis occasionally make pockets, those pockets are small and hard to notice to begin with. Their thumb joints do suspiciously align with edges of their clothing at times even though the Tied Hands aren't around.

Crowley's headband is like his substitute Belt Head at least. Sitis also wears something over her head.

Crowley still has the threads on his robe making pockets over his chest for where his Tied Hands would be.

When Crowley turns to show his back to the camera, then shows his front again, he does receive some extra lighting over the part of his chest exposed, before his beard covers it. He receives lighting generally in that area sometimes, and it's where the upper portion of his Tied Hands would be in the present day.

There's one cut with Job on the ground and Crowley standing, so a pocket generally exists between them though it doesn't seem to do anything special. There's another cut with Sitis pocketed between Job still sitting and Crowley still standing. Again, it doesn't seem to do anything special either.

For my tangential reading in my desperate attempt to improve my play, I finished The Sandman Volume 3. I'm still re-reading the Good Omens book.

...

Story Commentary

From the last scene, the story greatly implied that this part of the minisode is from Crowley's point of view. Aziraphale isn't around, and Crowley himself received stronger focus from the camera work.

When Crowley is talking to Job, the lighting on him is darker and favors his left.

When Sitis arrives, the lighting shifts. It then favors Crowley's right. With more light on him, his hair looks more red. After that, the hair generally stays as more red and favoring his right, regardless of the camera angle.

In trying to study the space and understand what's happening with the hair, the camera work ensures it is known that the space still has a roof—or at least roof edges—of a human-built structure, even if it is damaged and with an open threshold. Light pours in, presumably from that damage.

Crowley is not giving off the impression of someone secretly trying to save goats and children here. Without knowing how the minisode ends, the goats seem "destroyed", and now he's after the children.

Things don't look good. Well, things don't look good for people like Job, Sitis, and Aziraphale. Hell would be rather pleased.

Crowley expects Job to be furious with God and says so.

But Job isn't furious with God. He's furious with himself.

Then comes the main hint of Crowley's sympathy from the questions, "Yourself? Why, what have you done?" Then he looked like he wanted to say something more to Job's answer, but they were interrupted with Sitis' arrival.

We'll get a glimpse of Crowley's real scheme for this minisode in the next scene.

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That's it for this post. Sometimes I edit my posts, FYI.

...

Before the next post in this series, I am going to take some time to review things for The Pocket Trick that I'm hopefully starting to piece together and may update the main Sideburns Scheme post as well.

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Main post:

The Sideburns Scheme

#crowley #good omens 2 #good omens #good omens s2 #david tennant #good omens season 2 #good omens meta #good omens analysis #good omens crowley #crowley good omens #crowley s2 hair project

[cruciatusforeplay]

Hello I have Good Omens Brainrot like the rest of us, and I had a spare afternoon, so here is

Crowley and Aziraphale's Canonical Chronological History

(watching-guide with media timestamps so you can watch it all develop in order)

It's long so it's going under the cut. Let me know if there are errors beyond being out by a second or so. Also speedrunning two series of this show in an afternoon made me So Unwell (emotionally). I would absolutely recommend it.

I've broadly only included only clips that featured either one or both them as a focal point, or where the events would have informed their relationship, plus the option of the S2 finale in its entirety.

**Before the beginning, nebula** S2E1 0:00- 6:20 (up to opening credits)

**Just after the beginning, Garden of Eden, 4004BC** S1E1 1:55 (or 3:25 to skip Adam and Eve)-6:04 (opening credits)

**Noah's Ark, mesopotamia 3004BC** S1E3 0:00-2:47

**Job, 2500BC** S2E2 0:00-5:35, 22:30-40:01, 44:10-46:49 (end of episode)

**Crucifixion of Jesus, Golgotha, 33AD** S1E3 2:47-4:28 (continues directly to)

**Rome 41AD** S1E3 4:28-5:31 (continues directly to)

**Knights, kingdom of Wessex, 537AD** S1E3 5:31-7:56 (continues directly to)

**Bastille, Paris, 1793** S1E3 11:53-15:31

**The Globe Theatre London, 1601** S1E3 7:56-11:53 (continues directly to)

**Edinburgh, 1827** S2E3 8:34(post credits)-12:56, 17:38-22:10, 24:28-33:59

**St James' Park London, 1862** S1E3 15:31-17:29 (continues directly to)

**The Blitz, London, 1941** S1E3 17:29-24:07, recap can be skipped that can be skipped: S2E4 5:10(post credits)-6:14, 8:24-37:59

**Soho, London, 1967** S1E3 24:07-28:38 (opening credits)

**The M25 meeting, Hell, 1970s** S1E5 21:21-22:27

**The Antichrist, near Tadfield airbase, "11 years ago" ~2008** S1E1 7:32(post credits)-14:24, (optional baby drop off with Crowley) 19:24-20:14, 25:59-29:59, 30:14-32:24, 33:35-35:04 (continues directly to)

**Antichrist upbringing, "5 years later" ~2013** S1E1 35:04-39:30

**6 days before the end of the world, Monday, 2019** S1E1 40:45-43:19 (continues directly to)

**3 days before the end of the world, Wednesday, 2019** S1E1 43:19-44:08, 44:38-45:52, 48:01-49:11(to end credits)

**2 days before the end of the world, Thursday, 2019** S1E2 0:00-3:56, 21:16-23:33, 26:24-27:54, 31:04-32:10, 34:14-44:40, 45:36-46:21, 48:05-54:01 (to end credits)

**1 day before the end of the world, Friday, 2019** S1E3 30:07-31:14, 35:27-36:49, 38:48-41:30, 43:39-45:51, 49:41-49:53, 50:39-53:11

**The last day of the world, Saturday, 2019** S1E4 4:01-5:42, 8:15-9:28, 29:06-29:48, 33:29-42:00, 48:47-54:06 (to end credits)

**5 Hours and 48 Minutes to the End of the World, 2019** S1E5 0:00-1:32, 3:17(after credits)-4:17, 6:11-8:49, 11:01-13:25, 17:47(or 20:18 to skip the spirit of Ron)-21:00

**1 Hour and 43 Minutes to the End of the World, 2019** S1E5 21:00-21:21, 22:28-25:07, 26:49-31:43, 36:59-37:31

**17 minutes to the end of the world (and the rest ofbthat day), 2019** S1E5 46:24-49:25 (end credits), S1E6 1:53(2:35 to skip repeat section)-4:39, 8:19-9:49, 10:44-12:49, 14:02-27:10

**The very last day of the rest of their lives, 2019** S1E6 27:10- 28:07, 31:02-32:58, 0:00-1:46, 32:58-36:26, 42:33-45:45, 48:40-52:17

**London, present day (S2E1), ~2023** S2E1 7:48-13:15, 13:47-29:59, 33:00-36:13, 37:39-38:00, 38:19-42:41

**London, present day (S2E2), ~2023** S2E2 5:35-8:53 (to opening credits), 10:21-22:30, 40:04-43:28

**London/Edinburgh present day (S2E3), ~2023** S2E3 1:14-6:35, 6:47-7:07 (to opening credits), 12:57-14:36, 16:09-17:38, 22:11-24:27, 33:59-42:05(to end credits)

**London, present day (S2E4), ~2023** S2E4 0:00-3:42 (opening credits), 41:08-41:46, 42:02-43:09(end credits)

**London, present day (S2E5), ~2023** S2E5 0:48-2:57, 3:43-5:24, 7:07-8:04, 8:31-10:12, 12:29-13:32, 13:57-17:57, 19:33-29:52, 30:24-40:38

**London, present day (S2E6), ~2023** S2E6 0:00-4:52(to opening credits), 6:20-(optional 21:06-27:31 for Gabe and Muriel memories, otherwise continue to)end of ep

#good omens s2 spoilers #good omens s2 #the goodest of omens #good omens