sonkitty

[sonkitty]

The Sideburns Scheme - LINK - Update

This update is really important even though not a lot of the text has changed.

I have updated the recently added The Past section to the following:

The Past The Season 2 present day storyline is broadly solvable for the sideburns without examining the minisodes. The minisodes offer other things to examine more closely regarding the spaces themselves, but these things don't really seem to tell you how the sideburns work in the present day. One can look for parallels regarding the hair in the first two minisodes. By this point, I think the third minisode, the one where Crowley has sideburns in 1941, is intentionally set up as a test because it reverses so much of how the present day sideburns work. When things aren't reversed, they at least don't quite match the season 2 present day. I'm reasonably sure of myself in a lot of this theory for the season 2 present day, so that's why I think this test is doing what it does. I will cover it more once I reach that point. Still, the Job minisode offers a clue to pay attention to when a roof is around, which then actually gives a clue about the roof of Crowley's car in the ending credits. Generally, the minisodes suggest to keep an eye out for fire and hats or head gear too.

It has taken me days, lots of notes, contemplation, and a good chunk of this afternoon to come to that conclusion for the 1941 minisode. It was not easy, and I'll update accordingly if I ever find differently.

...

I have gone back to an older theory on an activation point for longer sideburns at the end of episode 6:

I currently think it is because of a combination of stillness and his left arm's exclusive touch on the threshold. There is plenty more going on with such a touch, but I think those two factors are what are really increasing the length.

That part used to mention the pocket touch, then added the legs being crossed, then maybe a symbol of fire, and hats, and...after awhile, those things seemed like too much and didn't quite add up based on what they show otherwise. I think I had it right the first time when generally starting out on this overall series and theory.

The pocket touch is still really important, but I don't think it's why the sideburns are long.

...

Removed saying in the past, hats could force or counter the effect, as thresholds do. I think that was incorrect and was me failing the earlier mentioned test regarding the 1941 minisode.

...

Updated about the recently noticed fleeting moment of short sideburns in episode 6 in the bookshop to the following:

-Being in the bookshop with two humans when Aziraphale enters and before the humans leave in episode 6. There are pocket touches on his pants, but pants pocket touches themselves have not been shown to change the sideburn length. If anything, the sideburn length has been shown to remain as it is during and after pants pocket touches or have other reasons for changing, such as no longer touching a door. He is shown blurred from some distance, so it's easy to miss him. He's to the camera's right behind Nina. Both humans are no longer looking at him. It's a cut that ensures Crowley is briefly visible before the next Muriel scene.

Updated some of the portion on The Door Trick to make it more clear that I think the longest-length is the door touch and stillness. Crowley's doing a lot of important, specific things, but those are the parts I think really change the length.

So, updated portion is like so:

Well, I already mentioned my answer before, but I'll go over what he's doing because it's rather specific despite how simple it looks. This character is precise in his choices, whatever this scheme really is. He is standing incredibly still. He has his legs crossed. The scene is structured to alert us that even though we can't see his feet, they are not touching the edge of the sidewalk—a threshold. He has his right hand fingers in his pocket and his thumb outside the pocket. The camera work ensures we know that he is not touching the window frame despite the incoming angle where we, otherwise, could not know. His left arm is touching the door panel. The door panel is the threshold. It is not an earthly object. He is touching his own space in his own way while watching Aziraphale's departure. I think the length is due specifically to the stillness and touch on the door of the car.

...

And that's it. Those are the changes.

#crowley #good omens 2 #good omens #good omens s2 #david tennant #good omens meta #good omens season 2 #good omens analysis #good omens crowley #crowley good omens #good omens theories #good omens theory #crowley sideburns

[sonkitty]

"And in the show do we think there are cues toward red herrings that we're shown on screen?"

Yes.

I have an extensive post about how the "Crowley storming out" sequence in episode 1 is a very important tutorial mix about the hidden Earthly Objects game and the Sideburns Scheme.

Post #10 (storming out)

To quote myself:

Okay, so this storming out sequence told us the story was blatantly lying to us but not because the sideburns changed in length. It's other things detailed in the Earthly Objects section. When first trying to figure out the sideburns, I saw this sequence, made a post about it, thought it over, and grew exasperated. How else am I supposed to figure out how the sideburns work if I know the story is so blatantly lying on things that are not the sideburns? That's the trick to it right there. The answer is in the question. There is no other way to know. If I want to keep playing the sideburns game—because I sincerely think someone or something in the story wants me to find their meaning, I have to believe there was a hidden message within the lie that was true. This sequence just told me some important things about how the sideburns work. It was a sideburns tutorial. Proximity to Gabriel will make the sideburns longer. Proximity to humans, or a private space with Aziraphale, will make the sideburns shorter. There can be a length in between the two types with distance involving the thresholds of the bookshop. Playing the game without that assumption makes the game much, much harder.

And another part I find worth quoting here:

Recognizing the fake Crowleys—especially Aziraphale—is crucial because it is extremely important to understand that Aziraphale knows about the sideburns even if Aziraphale never explicitly comments on their changing length. Without believing Aziraphale knows, the sideburns game is, again, much harder.

...

There's an ongoing rule of, "Never do the same trick twice," so while it's still good to watch what is and is not being touched—especially for finding the Earthly Objects game, there's no sequence quite like it in the story again. The closest match is the exit to Heaven. Crowley, Saraqael, and Muriel are shown not touching anything, not talking to anyone, and then Michael and Uriel end up in the elevator with them.

...

I have a slight suspicion Gabriel himself is a "red herring" being used to draw Hell's/Shax's attention so Shax ends up in the car with Aziraphale to trigger the 1941 minisode and later Crowley can take care of things for whatever needs to be done by him being in Heaven, possibly first.

There's a "first" thing with Heaven that sets off my intuition alarms when watching how he manages crossing thresholds overall. It's one of my top questions.

...

The "Never do the same trick twice" rule is something I mostly associate with the Threshold Tricks, but I think it still generally applies in other ways.

Red Herrings

Been thinking about the barrel of literal red herrings we're shown in the S2 opening credits...

I need to actually go look but I've been busy lately so I'm copying my thoughts down here for my fellow crack potters before I do. Do we think there's any correlation between the scenes where the barrel is visible in the opening credit processional? And in the show do we think there are cues toward red herrings that we're shown on screen? Some sort of marker?

#good omens #good omens 2 #good omens meta #aziraphale #crowley #crowley x aziraphale #good omens clues #good omens theories

[sonkitty]

Good point.

There actually is a smaller pocket that's a lot harder to see that does show up, eventually, where you've got the other horn. It's not there for as long as the bigger pocket, but it's there.

...

I have a newer version here that I used in my post about the visit to the the pub, with a little of the end cut off:

Brighter version for anyone dealing with a darker screen:

The best way to find the harder-to-see other pocket of hair is at about when "Health" is aligned near the bottom of Crowley's left ear.

Notice that "Good Omens" shows up twice in the GIF once near the beginning and again before Crowley is blurred from view. Before Crowley is blurred away, "Good Omens" is above his shoulder and not quite up to his lower ear.

I think he closes his eyes during the GIF when "Health" is near his left arm and not all the way up to his shoulder. He opens them again before the eventual narrowing of the eyes at the end.

If no one ever told you that Crowley narrows his eyes when Aziraphale finishes smiling before they both fade out of the credits, consider yourself told just now.

It's a bit long-winded to explain how researching the hair styles in the Job minisode led me to finding this part, but that's basically what happened.

Notice the self-made pocket of hair as he tilts his head back. Aziraphale smiles while that pocket is active.

I hope that is a good thing that falls in line with my theories about the maintained Rainbow Connection at Green and Aziraphale's success at The Door Catch.

The GIF is focused on only Crowley because it's easier to see what he's doing. You might still have to zoom on whatever device you've got. Sorry if it's not bright enough, but it was the best I could do with my own resources.

I'm still working through things with the Job minisode for the next Crowley S2 Hair post, FYI.

#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

[sonkitty]

I can't explain all the rainbows, but I have plenty to say on that first one in the post—eventually. I'm in a series about Crowley's hair but comment on the story, and that one is so important. I haven't reached that one yet and am really looking forward to when I do.

For now, I'll say that it's one of the findable rainbows in The Pocket Trick. Each touch has one to find, but this one is the "official" rainbow for that Threshold Trick.

It is so important, that I named the Pocket Frame Touch Point of the touch where it appears as my guess for what is The Clue in the episode that's not the record.

Very specifically, this exact video frame here:

Anyone curious can find out about what I a have to say on the touch in general here:

The Pocket Trick - Triple Part 2

...

I excused The Perfect Entrance Trick for not having an official rainbow since the Rainbow Connection in The Pocket Trick hadn't started yet when it was done.

The official rainbow for The Bigger Thresholds Trick can be found when the light goes up as Crowley changes appearance:

The Sunglasses Trick doesn't get a rainbow. Instead, it gets a reflection of white light on its last touch.

The official rainbow for The Door Trick is in the first front-facing shot of Crowley.

There's something very strange and probably amazing happening with rainbows in The Window Trick, resulting in its official rainbow.

The findable rainbows of The Pocket Trick are unusually easy compared to so much else going on. Their ease is a clue about a much more difficult Rainbow Connection mechanic.

I wrote about it in this series of posts:

The Pocket Chain Rainbow Connection (1, 2, 3, 4)

Before I was obsessed with David Tennant as Crowley, I was obsessed with Rainbow Dash from My Little Pony: Friendship is Magic. So, in my desperate attempt to solve something in The Pocket Trick because it was so ridiculously hard, I decided to try and figure out the Rainbow Connection. I had no idea what I was in for, even already knowing how difficult The Pocket Trick was up to that point.

It gets really intense trying to solve the puzzle because you have to realize that what's happening is the connection was probably set to go up instead of down through a skip to Purple and back to hit Yellow twice and "The Metatron makes mistakes". The Metatron inadvertently sets things back on track with deflection, redirection, and disconnection. If you don't already know, part of what makes The Pocket Trick so hard is the requirement to use your imagination with assorted word play.

So, that ends up with the game actually having some hidden messages. My favorite is "The tie strands are connected to the hands because they are Crowley's Tied Hands." I suspect Neil Gaiman's favorite is "Here goes nothing." ("Nothing lasts forever." "Here goes nothing.")

The result is so sweet. They keep and maintain their Rainbow Connection at Green thanks to a pot of gold at the end of the rainbow. The Green is from the plants in Crowley's car and the shadows of the green leaves on Aziraphale's coat. The Green represents Earth and their shared love for Earth. It's how Earth is still with them in the closing credits and represents their connection.

Rainbows for Crowley and Our Car, S2E2.

Similar to Rainbows for Aziraphale and Visiting Archangels, the larger rainbow in the foreground begins with Violet instead of Red. It is a lower camera angle this time, also further away, so the double rainbow in the background against the bookshop front wall near the left pillar is barely there. The rainbow in the foreground really pops once in-front of the Bentley.

Seeing them everywhere now, I whisper-gasp-squeak, "rainbow lens flare!", having in the last week, spotted them in American Gods and Fallout. But they are the "usual" Red through Violet rainbows (maybe a hint of Magenta before Red in the Fallout screenshot. Also amazed to learn that the colours for some rainbows appear in reverse order - I always thought Red to be the largest ring on the outside!).

But the two foreground rainbows showing up for Aziraphale and Crowley on Whickber St in episode two are unique, starting with Violet for the outermost band of colour, instead of appearing after Blue on the inside - almost 100% certain of that, especially when comparing to St Jame's Park in episode one (reused shot from Season One, but the rainbow flares were added for Season Two).

Crowley's rainbow in episode three however, seems to be the usual red-through-violet, I'm not entirely sure. What do you think?

It was his rainstorm & rainbow after all. Crowley's choice perhaps?

Whereas God would be the creator of the two rainbows on Whickber St in episode two. Could it be an extra special apology following the unseen event(s) of episode one?

Might it count as one of the things Crowley is referring to when he says, "well, lots of things are wrong right now" and something being "wrong" could include anything out of the ordinary, e.g. the colours of the Rainbow being slightly out of order.

Tiny 'regular' rainbows are visible on Uriel and Saraqael in Heaven, episode six:

And finally, just look at the rainbow arc (colours reversed) and then a very faint full-circle rainbow (also reversed) appearing to the left of Aziraphale's Halo:

I'm not entirely certain for these last two pictures either, but IF these rainbows also begin with Violet (from the smallest/inside ring out), then FOR NOW I want to conclude that they are exclusively for Crowley and Aziraphale.

(to clarify, that's at least the two rainbows - The first, when Aziraphale returns from the record shop to greet the Archangels; second, Crowley approaching Aziraphale and Bentley outside market stalls - in the foreground appearing on Whickber St for episode two, but I want to believe that it also includes the rainbows made by Aziraphale's Halo in episode six.)

Re-bloggers with image enhancing skills, please come to the rescue. <3

#good omens analysis #rainbows #good omens #good omens 2 #crowley #good omens season 2 #good omens theories #good omens theory #good omens meta #good omens 2 threshold tricks

[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.

...

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.

...

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

[sonkitty]

Crowley S2 Hair Post #21

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 1, The Clue, your boss

...

Sideburns Check

The sideburns are long before Crowley fully crosses the threshold. They most likely lengthened while Aziraphale was touching the astragal and doorknob to his bookshop.

This shift suggests that the border is already expanding for entry compared to the previous episode. Aziraphale is looking at Crowley so has probably noticed.

Gabriel is on the first floor though not visible to Crowley when Crowley first entered. With both Gabriel and Aziraphale around, the sideburns stay long during the scene.

When Crowley turns to Aziraphale and says, "Your boss said that to Job, do you remember?" is when it looks like the story itself most wants these long sideburns to be noticed. It's a strong right profile view of his face so gets a good look at the snake tattoo as well.

...

Brighter Red Streak Check

The more saturated red streak of hair can best be found when Crowley removes his sunglasses and approaches Gabriel. That matches what episode 1 showed. Such times are when it is most clearly visible.

...

Hairstyle Changes

The hair darkened and lessened in saturation. Besides those changes, the hair tilting to Crowley's right is a little lower for a stronger overall curl for the upper hair going to his left.

...

Earthly Objects

(For reference: Earthly Objects)

Aziraphale is touching the doorknob for the outside part of the door and the astragal first. He shifts his touch, so that he ends up touching the doorknob on the inside as well.

He crosses the threshold first but doesn't actually fully close the door until after Crowley has passed him and even stepped down. As I've remarked many times, I've taken note of Crowley prioritizing being first when it comes to the Heaven elevator, but going over the story more closely shows it varies on who can be first in what and how. That confuses me, but I still think, on an intuitive level, it's supposed to matter for the Heaven elevator. This "first" thing is one of my top questions. At the rate I'm going, if it's one of the solvable puzzles, I don't think I can solve it.

I think the Tied Hands finish retying.

Crowley's right thumb joint touches a jacket edge when Crowley is crossing the threshold near Aziraphale. Aziraphale used his index fingers several times while crossing the street, including one time where a thumb visually touched Crowley's jacket. Still, Crowley's right index finger can be seen "making a point" shortly after that thumb joint touch. It's not as clear as other times, but it's there and likely assisted from all of Aziraphale's index finger use.

The strands push off the apparel for a bit, lining up with Crowley's left arm, then making pockets with the door windows twice, as Crowley himself moves.

When he keeps moving, his watch is also visible. As he's stepping down is the strike that I think is meant for a lapel edge as part of the retying process. He is making a pocket with his legs. This pocket is mostly his left leg, some books, and the bottom of the screen.

A little more happens with one of the strands shooting forward more than the other, so the tassel is quite loose. When it comes back to Crowley's chest, the strands collectively push off again to make a brief pocket before returning to their usual place on the shirt and vest.

With that, I think they are finally officially re-tied.

Crowley is quick to grab an earthly object himself. He picks up a Jane Austen book.

When Gabriel appears, he's holding books and shelving them.

Now it's time for the next touch of The Sunglasses Trick.

Here is a GIF:

This time, we're at the first Single of a group of three Singles that become a Triple.

These touches are based mainly on Crowley using different sunglasses and hissing for each touch. They occur all in a row.

The different sunglasses are what help determine this group of three is the group of Singles that become a Triple.

The hisses are the commonality found between these touches that allow the switch to the Triple at all. By hiss, I refer to a subtle demonic hiss sound effect Crowley has when he removes the sunglasses. These things are not easily heard; it's something I learned about browsing Tumblr, listened, and eventually grasped when actually putting these pieces together.

These hisses are also, in my opinion, a hint about Crowley's POV on the story.

For these Singles, there is an extra factor of an earthly object is always "held".

The earthly object this time is the Jane Austen book. Up next, will be crows that are turned into goats, understood as a miracle hold of those animals. Third, will be a glass of wine. These earthly objects look to be an interesting requirement for this part of the Trick, given that the Threshold Tricks themselves are careful about when and how earthly objects are avoided. The Perfect Entrance Trick showed us they aren't completely avoided so much as they are managed with the game's mechanics—in that case likely neutralizing the window pane of the door.

So, if you want to get really silly on thinking that Crowley is just amazing and powerful, he's too powerful to hiss alone and needs the earthly object to control and lessen the impact of the hiss. Or something. Blaming pockets is usually a good option in the game too.

Now, did this Single have overhead lights? Probably, but I don't fully understand the finer mechanics of what's happening so can't explain it well.

Crowley may have received overhead lights as early as when he grabbed the book, but we'll cover that part later with the story commentary.

Before Crowley walks closer to Gabriel, there are three lights to his left and above his ear. When he walks closer, those lights become blurry. He fully obscures one and partially obscures another. There are even more other blurry lights above his ear and to his left. There is a small set of three closer to the ones he's already possibly using. Then there are another two partly shown lights near a pillar. These lights look like they could be for Aziraphale since they are closer to him and to Aziraphale's right. The possible issue there is that Aziraphale's right ear isn't showing, and he's not capitalizing on the Metatron's mistakes, like he does in episode 6 for The Door Catch.

Another confusing factor for the overhead lights is that the next touch almost certainly doesn't have them during the actual touch because it's in the minisode. So, these lights could be like an extra reserve for that upcoming touch, especially since lights will again be shown with Crowley right before the minisode starts.

Since the Belt Head is ensured to be visible when the touch starts, that does suggest to me that these lights are relevant.

Another thing that happens is how amazingly fast the Tied Hands are retied after the touch. Crowley is making a point with his index finger while touching the book. That touch is still on camera when the sunglasses are removed from the face. He's making a pocket with his left jacket sleeve and left jacket torso. The clasp strike to a lapel edge most likely happens near the end of the cut. There's no visible thumb joint of his up to anything, but something can be found with Gabriel.

After a few cuts, Gabriel's left thumb MCP joint can be found near his jacket—particularly, his jacket pocket. Meanwhile, the CMC joint is near the edge of the jacket itself. Aziraphale is visually pocketed between Crowley and Gabriel. So, by then, the Tied Hands are probably retied before the minisode actually starts. After this possible thumb joint assist, the Belt Head also gets an extra shot before the minisode starts.

That was plenty of pocket stuff, but let's go over the other pocket stuff not mentioned yet.

For some reason, there's a brief cut where Crowley is visually pocketed between Aziraphale and a pillar as he realizes Gabriel is there.

A notable pocket is that when Crowley stands on the rug, his leg, presumably, is making a pocket with an already existing shadow on it. I don't know what's actually casting that already existing shadow on the rug. This pocket remains for three cuts before Crowley removes his sunglasses.

Additionally, when this shadow pocket is active, Crowley's right hand is rather particular about its position. The jacket sleeve, shirt sleeve partially out, and the right hand make a small brief pocket with the jacket lower right side below the belt. The pocket is shown again in the second cut, briefly obscured by Gabriel's left arm. When Gabriel talks about the people who were just in the shop, and Crowley slightly raises his head in interest, the pocket stays on for the full cut.

It's gone when Crowley finally moves to remove his sunglasses.

With the touch on the sunglasses, a pocket forms between Crowley's right hand, right cheek, and right shoulder. Yet another pocket forms between his left side torso of the jacket and left jacket sleeve. Still, a third pocket appears between his legs and the bottom of the screen.

When asking Gabriel what is the very first thing he remembers, a small pocket forms between Crowley's right arm, Gabriel's right thumb, part of his own jacket sleeve, and right index finger. As such, there's a pocket between Gabriel's right hand and the bottom of the screen.

After these pockets disappear is when Gabriel himself is visibly overcome, fluttering his eyes and tensing, before his eyes turn to a glowing purple.

Before Crowley gets his overhead lights with the minisode about to start, there is a self-made pocket of hair that can be found. Since the area is dark or dim, and Crowley's hair is dark, it's actually found to contain some of the books from the upper floor to help make it more clear that it's actually there.

Then Crowley gets those earlier mentioned overhead lights. It's a set of three with one partially obscured, so that's one for his regular head and one for his Belt Head, theoretically. He's going to be wearing a headband during the minisode. This part happens as the camera pans closer to him and Aziraphale with Crowley presumably the one meant to receive a stronger focus. Aziraphale is still on screen and will still be around when the incoming part of this minisode concludes. As such, this recollection of the memory will be shared.

Setting aside the pockets, something I find interesting with the earthly objects is that Gabriel had just finished putting books away when Crowley hissed at him with the sunglasses touch. As in, I think the reason it hurt as much as it did was because Gabriel wasn't touching an earthly object himself anymore. He'll receive another hiss later, but he will be touching an earthly object because he'll be sitting on a bed.

That hiss won't affect him in the same way though it will also be after the special connection between Crowley's and Aziraphale's homes has formed.

It's a small theory of mine that the earthly objects help the supernatural beings feel more strongly anchored while on Earth itself. Gabriel quickly reaches out and touches a shelf, for example.

This idea is part of what the Final Fifteen is about. Both Crowley and Aziraphale—on a layered level—know they shouldn't be touching earthly objects. They have to let go. They're saying good-bye for now, not just to each other, but to this special place, most of their shared home they established on Earth. They have to go because they have work to do.

The part of the shared home that stays with them is Crowley's plants and the maintained Green of the Rainbow Connection.

...

For my tangential reading in a desperate attempt to improve my play, I'm still re-reading the Good Omens book. Besides imagination, as noted in my pub visit post, there's plenty of mentions of memories and games. Agnes' prophecies are based on her remembering bits of the future. Anathema words things like so, "You see, it’s not enough to know what the future is. You have to know what it means."

Here's an excerpt about Adam and games:

Adam also had a small computer. He used it for playing games, but never for very long. He’d load a game, watch it intently for a few minutes, and then proceed to play it until the High Score counter ran out of zeroes. When the other Them wondered about this strange skill, Adam professed mild amazement that everyone didn’t play games like this. “All you have to do is learn how to play it, and then it’s just easy,” he said.

Ha! Well, Earthly Objects in Good Omens 2 definitely isn't easy.

Otherwise, I've also started on The Sandman Volume 3. Shakespeare has just shown up again. Something's going on with A Midsummer Night's Dream, so now I'm sad I've forgotten so much of that play. We performed it at my high school. I was just an extra. Still, I remember being quite fond of the play itself.

A quote from The Sandman Volume 3 that I've logged as something to keep in mind for Good Omens 2 is, "Dreams shape the world."

...

Story Commentary

When Crowley enters, he is given significant focus when he looks at the bookshelf to grab the Jane Austen book. He gets special music for looking at the books and a massive lighting hint to pay attention to him. He is almost a silhouette as the light from the windows surrounds him. It's a beautiful shot.

Well, we've already paid plenty of attention to him, but let's look again for anything else not already covered, especially in the cut itself.

He is pocketed between a dark horse statue and the bookshelf.

Another dark horse statue was important for being the earthly object he placed his sunglasses on in episode 1. He's about to do that first Single-for-eventual-Triple touch for the The Sunglasses Trick during this cut. The phrase "dark horse" has already been used twice in the show with Crowley specifically saying it regarding Jane Austen earlier in this episode. This statue disappears during the ball but is back in place after Crowley cleans up the bookshop in episode 6.

The window Crowley's in front of is important because it is broken during episode 5 and remains broken until he fixes it in episode 6. I suspect there is something important about it being broken while he's in Heaven, just intuition there. Another thing is that when that windows is broken, it has a role to play for The Pocket Trick's Single. For this cut, there are three lights visibly over Crowley's head.

As noted earlier, they could be an early link for overhead lights regarding the sunglasses touch(es), leading from one set to the next, managed by the book being held.

Speaking of the book, what about the overall group of books? Well, they're possibly in a book for this story. I know posts have been made about how The Final Fifteen is like proposals out of Jane Austen books, Pride and Prejudice in particular. It kinda is, but there's a special proposal that happens later this episode, in my own understanding of the story.

It's been a long time since I've read any Jane Austen books myself, and I don't remember them well so can't contribute much on that end.

Otherwise, hey, look at Crowley. He himself is important, especially this episode. He's conceivably the best player in Earthly Objects. He's got his tactical turtleneck today, and he hasn't even started on The Pocket Trick yet. It's gonna be a big deal.

Alright enough of that.

...

The cardboard box can again be found without Crowley bothering to look at it in his line of sight during the scene.

...

This scene is interesting and open to plenty of speculation on what happens after Crowley hisses.

Crowley himself seems taken aback at Gabriel's reaction. Yeah, Crowley hissed, but he wasn't expecting that. "That" being glowing purple eyes with a quote from God to Job.

It's also part of the idea of compelling someone for an answer that I mentioned in the post about when Crowley first encountered Gabriel in episode 1.

The way Aziraphale looks at both of them and Crowley's own reaction to Gabriel struggling suggest that Crowley himself has been in a similar position to Gabriel.

As in, Crowley has also forgotten things, struggled to remember them, and had to mentally plow through the challenges to recover what he could.

Aziraphale has been around for that difficulty.

For Crowley's reaction, I'm mainly referring to that he seems to be breathing nervously as he watches Gabriel, while Aziraphale is glancing between both of them.

...

On the subject of the sideburns and rank, Aziraphale is still ultimately in charge of his own space. He's the one who tells Gabriel to go and have a rest. Gabriel pauses a moment to look at Crowley, as if for approval. With no sign of disapproval or Crowley trying to make him remember yet again, that's enough to go ahead and leave the area.

...

I can see the red on the back of the collar on Crowley's jacket in at some points in the scene though it's blurred:

...

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

...

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 #good omens theories #good omens theory

[sonkitty]

Yes, for anyone curious, you can find my posts linked at the bottom of my main The Sideburns Scheme post.

A few notes:

-I'm still going through the series scene-by-scene for Crowley himself, but so far, it generally sticks out that the story wants the more saturated red streak of hair on his front most clearly seen anytime Crowley is in a scene with Gabriel the first two episodes. It's clearly there on their first encounter in episode 1, before the miracle to hide Gabriel in episode 1, and when Crowley hisses and asks Gabriel what's the first thing he remembers.

-It most clearly disappears in episode 1 when Crowley says, "You're on your own with this one." During that entire scene, it was hard to tell, but the actual angle of that line is where the streak tends to be most obvious in other scenes. So, then, it looks like the story wants it clearly known it isn't there.

-My own theories note I thought it was an after-effect of a Big Miracle done the first time Gabriel would have shown up with a cardboard box. I think there are at least two drafts, for anyone not familiar with that part of my theories. However, things don't really add up for that idea when looking at other scenes overall. If they do, I haven't figured it out.

-There's a slight clue it's actually the result—or somehow linked to—the lightning shot out in episode 1 even though it shows up so much before the lightning ever goes off. That's because of the camera work when the lightning is done, and it's obscured or not seen. Then it doesn't show up again as more evident until he recalls the power himself from the coffee shop door.

-The streak sort of flares up in its red compared to darker hair on his head when he's talking to Nina in episode 5 and sensing something's wrong.

-Crowley has a more saturated red streak in the 1941 minisode. That's part of how things don't fully add up with it, but I'll set aside exploring such ideas for whenever I get to that part of my series.

Notes on Crowley's Red Highlights

I've just noticed Crowley's single red highlight in S2 thanks to this image. Crowley doesn't seem to have any highlights in his hair since it's done only with a red hair dye, save for one strand. (Second image by @fuckyeahgoodomens)

It's not a shadow or the lighting, it's a highlight and it's been there all along, but it always looks much duller in the episodes. For instance, some episode 6 screenshots:

And there it is, on the poster too. I think it was done with three different but adjacent foils that blend into a single thick highlight.

But look who's got some highlights of her own.

They are quite identical too, in both colour and thickness. Coincidence? A parallel? Or is she simply imitating Crowley?

Why add the single highlight in the first place?

I forgot to mention that Nina's also got the same highlights. See what they did there?

#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

[sonkitty]

In The Pocket Trick of the Earthly Objects game, these things are definitely meant to be noticed.

The humans are clues and unknowing assistants to The Pocket Trick. Since The Door Trick uses The Pocket Trick's Pocket Chain, it makes use of the humans as well. That means The Door Catch does too.

The humans really, really stand out, and you can't solve the puzzles of these Threshold Tricks without using them as game pieces.

The guy in yellow and black is quite relevant to The Door Trick, as he's part of the Yellow, which is hit twice, in the Rainbow Connection.

I also believe he is supposed to be "banana" when looking for Bullet Catch magic word references. That guess is due to the shade of his yellow and the position of his left arm with his pocket touches.

The linked post notes where he shows up most obviously, and he's using pockets there too.

Such things are part of the "Pay attention to the pockets" hidden message I keep referring to in my own series of posts about Crowley's sideburns and more.

potential Clue? or continuity error?

S2 ep1, timestamp 9:10-9:14

Fancy suit man in the background walks past, camera/shot changes, then he walks past again...

What caught my eye was the fact he's got quite a... flamboyant jacket on, and sleeves that look like Michael's.

As seen in this photo.

#good omens theory #good omens 2 #good omens season 2 #good omens #good omens extras #good omens speculation #good omens discontinuity

[sonkitty]

Crowley S2 Hair Post #20

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 1, The Clue, crossing street with Aziraphale

...

Sideburns Check

The sideburns are shorter. They actually became shorter as Crowley started his exit through the pub's special threshold instead of after passing the door frame. He was in the lane with the post and the panel instead of the lane with the post and the wall.

The street is reading Crowley as being in a human space.

I'm stopping this scene at before the cut that actually shows a view from inside the bookshop as he starts to cross threshold because of things that happen in that cut.

...

Brighter Red Streak Check

Crowley's hair is still notably saturated, and finding that streak gets even harder with the daylight in the street. The streak itself is actually more like two streaks that fork out a little from each other.

...

Hairstyle Changes

The hair still swoops upward but not as much and with a stronger tilt to the right, allowing tendrils to settle downward from where the hair separate itself at the top. I like it. It is one of my more preferred styles.

...

Earthly Objects

(For reference: Earthly Objects)

I'm surprised neither of them are required to touch an earthly object for this sequence. It doesn't look set up to be as deceptive as the tutorial from when Crowley stormed out in episode 1.

Possibly related is that Crowley talks while in that bigger threshold, and they just carry the conversation across the street to the other threshold of another building.

The singing could be what would count as an earthly object touch since speaking in a foreign language is shown to count in episode 5.

There is a question about the song and Gabriel's name used in conversation.

Aziraphale does some self-touches, which is why I've said the rules for supernatural beings and self-touches are confusing.

For paying attention to the pockets, a human pocket user can be found in the threshold as Aziraphale and Crowley exit.

Closer to the bookshop, more potential human pocket users can be found on the sidewalk, pocketed between Aziraphale and Crowley, when they are closer to the bookshop.

Regarding the Tied Hands..

The tie strands make a swing to Crowley's right, past the edge of the lapel at first. As they swing toward the middle, there is a potential strike on the lapel edge, but it's debatable compared to another strike in the next scene. Since he's not making a pocket with his body here and is in the other strike, I suspect the next one is the actual strike I should be looking for.

The tie strands keep swinging to his left.

They swing to the right yet again, this time twisting themselves to cross each other over the right lapel itself. The clasps are understood to twist over each other too. The tie strands swing to the left, untwisting in the middle between the lapels, then one strand is mainly over the other by the time they reach the left lapel.

The tie strands are pushed forward, more clear off the apparel area, to twist the clasps to cross each other yet again. With that done, they end up twisted and on the right lapel again.

These actions are presumably part of their retying process or stalling for it to happen soon.

The main word play that comes to mind is "twists and turns" since Aziraphale turns at least once during the walk and yet again by the time the twisting is done. A couple of humans nearby also make a turn. Aziraphale will turn again in the next cut.

Aziraphale's self-touches include self-made pockets with his hands.

...

Story Commentary

Aziraphale is using a lot of hand gestures. It might be a deeper code between the two of them even if it doesn't look like Crowley is following along and looking for some of it.

Both of their reflections can be found on the window panes to the pub and the bookshop, if one takes the time to look.

The Bentley can be partially found behind Crowley during this scene, starting from when he says, "What?" A car is obscuring it at first.. When Crowley answers no, he hasn't heard the song, the car is a little blurry but otherwise more clearly understood to be behind him.

The car is quite important in the story, as well as what will happen near the end of this episode where it is parked.

...

I finally found the red on the jacket for the back of the collar for this scene:

...

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

...

Main post:

The Sideburns Scheme

...

Past version of this post:

Post #19 (crossing the street from the pub to the bookshop )

The numbering no longer matches because I went ahead and covered the first minisode scene with Crowley this time around. I'm finally caught up to where I left off before I put this project mostly on hold to study Earthly Objects!

I expect further posts will take longer from this point onward.

#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 #good omens theories #good omens theory #crowley s2 hair #crowley sideburns

[sonkitty]

Just reblogging this "Here goes nothing" thing for some reason today.

The Door Catch Ground Zero

The above GIF is the Ground Zero cut of The Door Catch. I refer to it as such because before this cut, there are 2 specific cuts of Crowley doing The Door Trick. After this cut, is the third cut of Crowley finishing The Door Trick.

Once Crowley finishes The Door Trick, there are 3 cuts of Aziraphale for entering the elevator before the Metatron makes the mistake of blocking out Yellow in the Rainbow Connection.

Earthly Objects loves the number 3, but we have 7 cuts here, not 3 for Crowley and 3 for Aziraphale. There is one extra cut that's missing Aziraphale's feet on the ground in a Threshold Trick using a pocket touch. Also, he got his overhead light.

There's a silly shoe locker theory I have that I'm not getting into here, but the point is, this silly puzzle wants those feet seen when they are seen...soon.

Pocket touches use word play.

Word play comes into play and so that cut is Ground Zero because it has zero ground in it. Plus, Earthly Objects wants those 3s.

I often see people look at this cut without thinking of the context of the cuts of Crowley that surround it or not recognizing Crowley's tremendously deliberate positioning at his car threshold with a pocket touch when they do. They then question what Aziraphale might be thinking or saying.

If I'm reading the message from the game properly, I can actually tell you. He's thinking or saying, "Here goes nothing."

Because here we are at Ground Zero.

The Door Catch officially starts once Aziraphale's feet are shown on the ground.

This post is made for reference.

#good omens 2 #good omens #good omens s2 #good omens season 2 #aziraphale #good omens 2 threshold tricks #good omens 2 the door catch

[sonkitty]

Crowley S2 Hair Post #19 Redone

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 2, The Clue, the pub

...

Introduction

This scene!!! Pay attention (if you like this kind of stuff). This one is important. This sideburns thing is a game, and this scene introduces us to one of the most difficult rules to grasp of that game (beyond "What is exactly is your point with all this, Crowley?").

...

Sideburns Check

The sideburns are longer than expected to be found in a human space. The pub is crowded with humans. If we've figured out the nature of the game by now, it has us on guard because the basic premise has been proximity to humans makes them shorter with time required from the car and distance required from the bookshop. No Gabriel is around to make them longer. We don't know how long Crowley drove before arriving, only assume that he did. We later learn he parked across the street from the pub instead of the coffee shop in this episode.

This length, as best I can tell, most closely resembles his sideburn length from being in Hell (which would then include before and after summoning but difficult to compare with much darker hair at night in the car). The left one is not as full in hair. The lighting of the scene favors Crowley's left side when he sits down at the table.

That sideburn length is a demon-space length, not a human-space length.

So, what happened?

This space's threshold is bigger than Crowley. There's more to it than being bigger, but we have to start there because of things that will happen later.

The pub's threshold starts with a door frame when entered. It has two wooden doors with windows. It also has a panel along the right door frame's right side. The panel does not end with a door. It ends with a post. Across from that post is yet another post on the wall.

The length between the door and this panel is the threshold. That's enough space to be bigger than Crowley. This bigger threshold has no roof.

Because the threshold has two doors and two different types of ends, it also has two lanes, one for each door. The right door has a lane from it to the end of the panel with a post. The left door has a lane from it to the post on the wall.

While we do not see Crowley's sideburn length before he entered, the camera zoom onto the pub sign actually does show us, below the sign, that only the right door is open inward to the space itself. That will be re-confirmed on exit.

Eventually, I figured out, and had to make the assumption from the clues, Crowley switched lanes on entry in this threshold that is bigger than him. Later on, with the music shop the story will show short sideburns before entering another bigger threshold.

I figure that's enough of a clue that the sideburns would have been short before entry here. Given the clues from this episode itself, Crowley drove for some time, and he had the plants with him in the car.

When Crowley and Aziraphale are shown walking in, Aziraphale is closer to the panel and the post there. Meanwhile, Crowley is to Aziraphale's left and walking along a rug. That's the indication Crowley's in the left lane while Aziraphale is in the right lane.

That's the trick for this bigger threshold: "switched lanes".

When Crowley exits, he sticks to the lane by the panel and door that will make them short. If it makes any difference—and it probably does given how particular the game is—the door that is open, is open inward toward the space of the threshold instead of outward toward the street.

The blocking and framing of both Crowley and Aziraphale on exit may further contribute. Aziraphale's head is shown as being to Crowley's right, then blocks Crowley's face, then is shown to Crowley's left as Aziraphale himself is shown near and eventually in front of the doorknob. He then moves to Crowley's right again after Aziraphale himself has cleared the way out of the door frame.

A possible factor I don't understand is that Crowley parked his car near the pub instead of the coffee shop that particular episode.

I will go over this part of The Bigger Thresholds Trick a little more in the Earthly Objects section.

...

Brighter Red Streak Check

Crowley's hair is notably more saturated from the last scene in the car, so the streak can be hard to find just because of that. The streak starts a little further to his left of where we often see it starting above the center of his left eye. Now it starts more at his left end of his left eye. Instead of going upward from that center, it ventures to Crowley's right, then still managing to actually be above the center of his left eye.

...

Hairstyle Changes

Even through the sideburns, the left one has less hair than before, matching more like Crowley's being summoned to Hell.

The biggest difference at first glance is the saturation. The story has hinted that the Bentley, when isolated, may generally make the hair darker as it is, even if Crowley hasn't zapped red lightning out of himself.

Otherwise, the actual shape is quite similar from the last present day scene. Styles change even during scenes. One I am able to find and check swoops in on both sides, just like in the car, with possibly being a little more centered in how the sides curve out from the top. From the front, there is a slight tilt to the right. The curving hair also looks more smooth.

...

Earthly Objects

(For reference: Earthly Objects)

We have arrived at our third Threshold Trick!

Here are some GIFs to start us off:

This one is The Bigger Thresholds Trick. In addition to being the third to start overall, it's the second Complex Threshold Trick to start. It will be the first Threshold Trick to conclude in episode 6, making it the second to conclude overall.

This Threshold Trick is the second one I found though it is the one anyone studying the sideburns is likely to start to sense first. That's primarily because there are so many humans yet the sideburns are long.

The first one I really found was The Door Trick, and I do think the game is designed that way on purpose. That way, an audience player circles back after finding The Pocket Trick to play the intense Rainbow Connection portion—among other things—to solve The Door Trick further with its connection to The Door Catch.

All the same, with The Door Trick in mind, that meant I should take a good, long hard look at the thresholds and overall spaces throughout the story.

I kept looking at this pub's space. There had to be something special about the place. Was it with where Mr. Brown was when? Was it with how a car outside the pub moved as Crowley moved?

It was the threshold!

The threshold is bigger than Crowley. That explained this one but not the music shop since I hadn't figured out that one's threshold was bigger too. An audience player is unlikely to realize the Heaven elevator is one of the three until figuring out the music shop's threshold is also bigger than Crowley but has a different solution for the trick ("never let go of the door").

This pub visit is the Double of The Bigger Thresholds Trick. The visual marker for the Double is the two posts to mark the end of each lane for the bigger threshold.

How do pockets work with this one? Besides a certain pocket touch that will happen during the scene itself, probably something to do with the shadows. My play isn't good enough to determine more than that at this time. Crowley's leg shadows are making a pocket on the rug itself and a human's back of their jacket at some point. The pocket disappears over the course of the entry. Shadows and backs are really important later for The Door Trick and The Door Catch.

On exit, Aziraphale's head switch, switches the pockets Crowley is in. First, Crowley is pocketed between Aziraphale and a human wearing a hat. After the switch, Crowley is pocketed between the entry's left door and Aziraphale. Then, in turn, Aziraphale ends up pocketed between Crowley's actual head and the shadow of his own head that ends up on the entry's right door frame.

What does it all mean besides general trickery? You got me. Still, they're doing stuff. I've said I think Crowley is the top tier—the best—player of the game. I think Aziraphale is probably second best. As good as Crowley is, he can't do these more advanced moves for The Bigger Thresholds Trick without an assistant at the level of Aziraphale and later Muriel.

Crowley trusting Muriel is one of the special traits about this Threshold Trick. It starts with recognizing that Aziraphale is acting as the assistant the first two times, then really shines through once a player understands how important pockets are and what Muriel is doing for the third bigger threshold.

Anyway, let's set the threshold trickery aside and take a look at what actually happens during the visit to the pub. Then we still have to pay attention to the pockets a little more.

I'm not going to name each set as a set since I'm not sure. But there are multiple sets in this scene.

The walk on the rug is its own earthly object touch.

Crowley saying, "Ah, we're going to the pub," is like a "Hello".

Aziraphale is doing a self-touch with his hands.

Crowley asks a question, "What's wrong with the coffee shop?"

When Aziraphale touches Crowley's chest, I think that counts as an acceptable touch since Crowley makes no visible effort to deny it. Supernatural beings are allowed reciprocal touches between each other. As in, when Gabriel hugged Aziraphale in episode 1, Aziraphale didn't hug him back but also had an uneasy look on his face. That ensured no point for that touch. Crowley doesn't touch Aziraphale back here, but that's not what's expected from the nature of the touch. At the very least, he doesn't pull away. The scene establishes it is Aziraphale who removes the hand at some point with a human obscuring the removal of the touch when that happens.

Aziraphale has a miracle touch on the two humans he gets to leave. His vendetta against the backs of chairs is active here, so the story cuts away when he actually sits down. This vendetta is possibly related to how utterly important Aziraphale's back is during The Door Catch and using the shadows of the green leaves on his coat to maintain the Rainbow Connection at Green.

Crowley's arm on the counter while ordering the drinks is another touch for him. The human he speaks to is holding a rag or towel. Crowley uses the name, "Lady Bracknell" He makes a brief pocket with his left arm, and it's the most clear shot of his watch during the visit.

Mr. Brown is holding both a newspaper and a cup when he arrives. He says, "Mr. Fell!" so that's a name.

Aziraphale looks him over, sees the earthly object touches, and replies with, "Oh...Hello".

Mr. Brown introduces himself by name and is shown seating himself. We'll cover him more later in the story commentary.

There is a question from Aziraphale with, "I did?"

When Crowley arrives at the table, he sets Aziraphale's glass down on the table. He already has his own glass of whiskey. He uses a pocket touch and greets Mr. Brown with a "Hello". The pocket touch is the four fingers of his right hand going into the pocket while keeping the thumb outside the pocket. The result of this touch is the most familiar form of the pocket touches in The Pocket Trick. Only the Double doesn't use it. The Door Trick uses the result of this form too. Those touches never show the fingers going in.

Now something important here that happens—and I've never named it in my pocket posts because I've never figured it out—is that Crowley smiles during this pocket touch.

For every touch in The Pocket Trick, he is not smiling when the pocket touch is on screen. The same goes for The Door Trick, where he is standing extremely still. One of the reasons I think this smiling and lacking smiling is important is the ending credits. It stands out that Aziraphale visibly smiles before he and Crowley are blurred away from being seen in the credits.

It also stands out that Crowley doesn't smile. On its own, that gives me a sense of unease and discomfort.

With the game, I have to consider he might not be smiling because he is still following some advanced pocket trickery rules. Even though he doesn't smile, the lighting lights him up enough that if you take your eyes off Aziraphale long enough and look at Crowley instead, you can see that he has a self-made pocket of hair containing part of the edge of the roof briefly. There actually is a second even smaller self-made pocket of hair. Look for it about when "Health" is near Crowley's shoulder.

Crowley closes his eyes, re-opens his eyes, and then narrows his eyes with a look toward Aziraphale's side of the screen. He does these things before he is blurred and faded from view.

Are these good things or bad things? Well, if the credits scrolling over Crowley are any indication, they are good things because "Good Omens" appears over Crowley's shot twice.

Still, Season 3 isn't going to start off saying everything is fine, never mind, no problems, or whatever. The emotions during the argument were tense and presumably real.

Another reason I consider the smiling important is that my absolute favorite smile of Crowley's in the entirety of Good Omens 2 is when he is standing with his back to the edge of the elevator doors in Heaven. Those are different pocket circumstances compared to what's in The Pocket Trick and The Door Trick. He has the thumbs and thumb joints of the Tied Hands pocketed in his vest, his actual hands not pocketed, and his back to the edges of where two doors—pocket doors—meet. Pocket doors are sliding doors, and elevator doors slide. So, for some reason, that set of circumstances allows him a smile.

Alright, so back to the pub scene.

Mr. Brown uses Aziraphale's "Mr. Fell" name when talking to Crowley.

When Aziraphale drinks, he's shown from the back, shown from the front, and shown from the back. His fingers obscure much of the drink itself and are enough so that a touch would be more credited toward the cup itself. If he gets any credit for the drink, it's from the three different shots of him drinking, I would guess. He's shown finishing off the drink before leaving the table

Various names and questions continue during the conversation. Both do self-touches at times, and sometimes Crowley's touch on his glass of whiskey is seen.

Crowley is shown drinking the whiskey just before getting up to leave. He ensures the index fingertip and middle fingertip are shown on the glass but not the tips for the other digits. The thumb is obscured by the glass itself. Like the coffee in episode 1, that's probably Crowley's way of preferring credit for the drink than for the touch on the glass.

For paying attention to the pockets, there is of course the pocket touch Crowley did when talking to Mr. Brown. He actually moves the thumb tip on the pocket a bit after Mr. Brown talks to him and before sitting down.

It doesn't look like a big deal on its own, but it's happening in the first touch of The Bigger Thresholds Trick and in the episode where The Pocket Trick officially starts. So, it's probably some silly prerequisite to The Pocket Trick itself while ensuring a pocket touch of some of a hand is going into a pocket during this particular touch in The Bigger Thresholds Trick. The CMC right thumb joint touches the jacket's edge in the process. The metacarpophalangeal joint is touching the belt loop. Plus, there's that smile. The music shop will get The Pocket Trick's Double where thumbs go into pants pockets instead of fingers. Heaven will get the Tied Hands with their thumb joints and thumbs pocketed into the vest.

When Aziraphale sits down, there is a human to his right with their hand in a pocket. That pocket touch is still active when Crowley arrives and makes his pocket touch. The scene cuts to Mr. Brown, then back to Crowley. The nearby human no longer has their pocket touch active. That's also when Crowley's thumb tip does its little movement on the pants.

When Crowley brings up the idea of a sudden rainstorm, he makes a pocket between his right index finger and thumb. As he talks about realizing "they were made for each other," his elbow can be seen touching his jacket. From there, I can then notice a pocket exists between the jacket sleeve, jacket torso, and arm chair for what's not touching the jacket.

The Tied Hands are quite shiny and pretty in the scene overall. A tassel is touching the Belt Head before Crowley says, "We've got a real problem..." Once Crowley starts talking about the 1810 Clerkenwell Diamond robbery, the tie strands can be seen touching each other on the vest while they have a pocket formed between them on the shirt. They'll show up as touching each other in more cuts after that point.

Once Crowley is seated, the lighting favors his left. Sometimes to his right is a smaller light that can be found, and sometimes to his left a set of more lights from a chandelier can be found as a potential overhead light, or set of overhead lights. Aziraphale actually also gets a possible overhead light, or set overhead lights from a chandelier, to, to his right. These things don't strike as big of a deal is as the one I commented on for the miracle to hide Gabriel, but so long as I'm looking and found them, I'm passing it along.

Various light reflections appear in Crowley's sunglasses, sometimes with a greenish tent. Even the window frames here get a moment of reflection, before Crowley turns his head and says, "Why?" I'll repeat that I think these reflections are clues about The Window Trick as the last Threshold Trick of the season.

...

For my tangential reading in my desperate attempt to improve my play, I've actually been re-reading the Good Omens book since it was published in 1989, which is the same year Guards! Guards! was published.

The word "imagination" is used plenty of times, and using one's imagination is certainly a requirement of Earthly Objects, especially once you find The Pocket Trick.

I picked up The Sandman Volume 3 from the library so will start on it soon.

...

Story Commentary

The pub is one of two human-specific locations that make it quite difficult to develop theories like the one about the connection and the other about the existence of a supernatural zone. See the main Sideburns Scheme post if you don't know what I mean by either of those things.

The music shop is the other human-specific location.

Before figuring out the thresholds, the main common thread found between them that is not the longer sideburns or the pocket touches, is that both locations have an encounter with a human who remembers a meeting from some years ago and say as much to Aziraphale. Here, the wording is "several"; Mr. Arnold will specify "ten". The encounter also brings up lights. This one refers to "winter street lights". Mr. Arnold in the music shop will mention "Christmas lights".

The special encounter here is Mr. Brown.

He has memories that do not match Aziraphale's and leads into Mr. Brown setting Aziraphale up to host the upcoming Thursday night meeting (which will become the ball).

The general issues are as follows:

1. Mr. Brown expects Aziraphale to know him. Aziraphale does not recognize him. Mr. Brown gives his name.

2. Mr. Brown claims to have met Aziraphale at a shopkeepers and street traders meeting several years ago. Aziraphale politely says, "Of course," but looks like he is just trying to be polite.

3. Mr. Brown claims that Aziraphale said he would be delighted to host a meeting. By then, Aziraphale is truly caught off guard. "I did?"

4. Aziraphale is hesitant and does not say he's looking forward to hosting this meeting. He is preparing to say that he can't and is busy or something along those lines. When Crowley arrives with drinks, Mr. Brown disregards Aziraphale's manner entirely and tells Crowley that Aziraphale was saying how much he's looking forward to hosting the meeting. This remark could certainly be a presumptuous lie on Mr. Brown's part, to just get what he wants, but it is suspicious with everything else above.

My initial sense is that Mr. Brown has fake memories from the Metatron, but the encounter with Mr. Arnold in the music shop later seems far more deliberate on the part of Crowley and Aziraphale.

In this one, in the pub, Crowley is busy getting drinks and away for much of when Mr. Brown recounts his memory. However, Crowley is still being read as in the threshold space as a demon no matter where he is in the pub, so how much does this distance matter?

Anyway, longer sideburns and memory stuff happened in the same scene. This factor is noted but still not really understood by me.

...

One of the odd little clues from the story about a possible book with humans who have a fake dimension to them is how some of the names are, like so: Mr. Arnold, Mr. Brown, Mrs. Cheng.

These names are more clear if watching the show with the official subtitles.

My point is that the group goes A, B, C. It doesn't apply to all humans of course, but I noticed.

...

The pub and music shop have strong contrasts between each other, when it comes to the nature of the space. The pub is a large space compared to the smaller music shop. There are a lot more humans here in the pub and just the one human, Mr. Arnold, in the music shop.

...

Still, no one is shown paying with money for anything in the present day. If it were to happen anywhere, you'd think it would be here.

...

Aziraphale uses Gabriel's name in conversation here despite his caution of using the "Jim" name in the bookshop space. He'll say Gabriel's name again later this episode out on the street near the car.

...

Regarding the drinking of alcohol, The Magic Trick You Didn't See theory has a part that I think is worth considering, so please do look it over if you're interested. It's about suspecting the Metatron disapproves of alcohol, and that's one of the clues he's messing with Aziraphale's memories. You can find it under the header, The Devil's Drink.

...

I enjoy the conversation overall in the pub. I know they aren't supposed to be messing with humans in the way they end up doing, but I still find it really sweet how Crowley reacts to the idea of helping two people fall in love. He is quite likely referring to his own experience.

I also love his reaction to Jane Austen, both as he remembers her and the news to him that she wrote novels.

Basically, I love Crowley here. I love him so much.

...

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

...

Main post:

The Sideburns Scheme

...

Past version of this post:

Post #18 (the pub)

The numbering no longer matches because I went ahead and covered the first minisode scene with Crowley this time around. I'm almost caught up to where I left off before I put this project mostly on hold to study Earthly Objects. Only one more to go!

#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 sideburns #good omens 2 the bigger thresholds trick #good omens theory #good omens theories

[sonkitty]

Crowley S2 Hair Post #18 Redone

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 2, The Clue, meeting with Shax in the car

...

Sideburns Check

The sideburns are long and are what I've generally gone with calling the default demon reading from the car. Once Shax is inside the car, the lighting favors Crowley's right. So, the left sideburn looks more full in hair than his previous demon encounters and the preceding night's miracle.

...

Brighter Red Streak Check

For the most part, there are two more saturated red streaks that can be found above Crowley's left eye. They are close together and spread a little between each other.

...

Hairstyle Changes

The hair is darker and not as saturated compared to when it was last seen charged up with so much red for the miracle in episode 1. Based on my own observations, the darkness can be attributed to Crowley being in his demon space with the car. One could guess he's been in the car for awhile since he's asleep at the start of the scene.

...

Earthly Objects

(For reference: Earthly Objects)

This scene is quite unusual because so little is shown of Crowley's hands and him making pockets with his own body using a limb or fingers or hands. I think the scene is designed to offer clues to The Window Trick, which is the last Threshold Trick of the season at the end of episode 6. It concludes right before Muriel's last scene.

Crowley starts with his arms folded in the car, presumably with his back to the seat. Due to the camera's movement, the nearby buildings cast a darkness that looms over the front window, allowing part of Crowley to be seen more clearly, such as the longer sideburns. Still, due to where the camera stops, it's not as clear with the window pane's glare that Crowley's right shoulder is touching the back of the seat. It's a good guess, just not easily seen. Meanwhile, his left shoulder could be in the space between seats.

Due to this position, he is covering the thumb joints and thumbs of his Tied Hands.

Shax knocks on the window. Her hand's reflection can be found in the window pane this time.

When Crowley opens the window, it's more clearly confirmed that yes, he has his right shoulder on the back of the seat.

Shax is not reflected in his sunglasses. For The Window Trick, there will be humans walking to Crowley's right that will have parts of their bodies reflected in his sunglasses to indicate what he sees.

Generally, I've interpreted that to mean that Crowley doesn't see the way humans see by choice because it works to his advantage to sense with his eyes instead. The sense operates in a very similar manner to seeing while not actually seeing the way most humans understand it. His special sight is what allows him to perform The Window Trick at all because he can show what the windows of his sunglasses see, and that it changes when he moves enough for the reflections to disappear.

Such things also help communicate that the ending trickery is not an appearance swap because only Crowley could even do it with how he uses the sunglasses as his own double door set with lenses for windows. Well, at least I would hope so given all the effort put into the whole thing.

For Shax's "Hello," she greets Crowley with, "You're in trouble."

Once inside the car, Shax is shown with her right arm against the back of the seat. Crowley is also shown with his back to the seat.

Otherwise, the scene shifts to focusing on their head shots as they talk. Shax's reflection can at least be found in the window pane to her left.

The scene itself never shows Crowley closing the window but based on how things are structured, I would think the window by Crowley closed once Shax entered. Crowley's reflection is never found in it to be sure. Part of The Window Trick is indeed to leave the window open while blurring it and making it harder to confirm it's open while the reflections are happening. That blur is a pass or share with the sunglasses. However, The Window Trick ensures an open window with its full window frame is shown at its end. That's not what happens here.

There are white window frames of the nearby buildings, and these things repeatedly appear as reflected in Crowley's sunglasses throughout this scene. That's another clue to what Crowley sees and chooses to see with his special sight. Light is the most common reflection I've found in his sunglasses, but here, it's not light. It's something lighter in color and specific to the space of the supernatural zone outside his own domain of the car.

Plus, window frames themselves are important thresholds for figuring out the game's mechanics, both for looks and physical touches.

For paying attention to the pockets, the Tied Hands never show their thumbs or thumb joints. Or rather, the tie never shows its clasps and tassels. Only the knot is partly revealed early on before Shax knocked and then before the scene itself shifts to being outside the car as Crowley starts driving.

With the window open and addressing Shax, Crowley makes a pocket with is own ear, neck, and shoulder to the passenger seat of the car. Some of the plants and the cardboard box they are in is in that pocket. He is visually pocketed briefly between the greenery of the plants.

The plants are important to The Window Trick because it is their Green that represents the maintained Rainbow Connection between Crowley and Aziraphale after Aziraphale has completed The Door Catch. They represent Earth and a shared love for Earth. With my latest studies in these posts, they also contribute to how Crowley's sideburns shorten during the drives of the present day.

When Shax starts talking about the miracle, a self-made pocket of hair can be more clearly be seen on Crowley as he listens to what she says. This pocket contains some of the roof of the car.

The main pocket Crowley makes with a limb is when he uses his right arm to start the car before fully kicking Shax out of his space. The pocket is between his arm and the lower part of the screen. It visually contains the window pane, frame between the window pane and the door, and the door. As the camera zooms out, some of the steering wheel ends up included in the pocket before Crowley fully lowers his hand.

Once the closer head shots start for the conversation, the plants end up pocketed between Crowley and the right side of the screen. Such pockets keep happening. Meanwhile, they keep not happening with Shax. There is extremely little of the plants that can be found in the cut where her right arm is shown touching the seat. After that, she is framed without the plants in the car, even when they start shuddering.

Not only that, before Shax entered, she had a pocket between herself and her giant bow. Once she's in the car, she's not making that pocket anymore. I don't think she's avoiding that pocket on purpose. I think her play isn't advanced enough to consider that option. She does seem to be one of the more aware players in the game because she has one of the more notable play styles. She's very intentional about when she is willing to make skin contact touches, for instance.

She seems to continually "dress down" over the course of the season, when it comes to her head and not taking on the appearance of a specific human. Once the hat and gloves are gone from her earlier encounters with Crowley, she has a headband and earrings when she talks to Aziraphale in the car. Once the headband is gone, she has no hat or headband and smaller earrings in Hell, both in 1941 and the present day before she addresses the gathered group of demons. Once the earrings are gone to address that gathered group of demons, she has red highlights in her longer hair that last from that point onward.

If I'm remembering the overall series properly, she is allowed to say Crowley's name the most of anyone who isn't Aziraphale.

Back to this scene, when Crowley's right hand is finally seen after first opening the window, it's blurry. I can't make out the fingers and can only reasonably guess there's a thumb joint of relevance near the steering wheel.

For my tangential reading progress of a desperate attempt to improve my play, I have finished Guards! Guards! by Terry Pratchett and The Sandman Volume 2 by Neil Gaiman.

Guards! Guards! has at least two familiar passages that certainly resemble what can already be found in the Good Omens book and season 1. In Good Omens the book, the narration describes things as follows:

This proves two things: Firstly, that God moves in extremely mysterious, not to say, circuitous ways. God does not play dice with the universe; He plays an ineffable game of His own devising, which might be compared, from the perspective of any of the other players,* to being involved in an obscure and complex version of poker in a pitch-dark room, with blank cards, for infinite stakes, with a Dealer who won’t tell you the rules, and who smiles all the time.

Note the game and "smiles all the time". Season 1 switches things so that God is a She, and She describes the game in much the same manner. I can assure you, the word "ineffable" has occurred to me in trying to describe and figure out the rules of Earthly Objects...the funny thing is, some rules can actually be found. You gotta look really hard and really think about it though. Still, they are there.

Now here's another "smiles all the time" in Guards! Guards!

Nobby looked up from the table in the corner where he was continually failing to learn that it is almost impossible to play a game of skill and bluff against an opponent who smiles all the time. The Librarian took advantage of the diversion to help himself to a couple of cards off the bottom of the pack.

Did Terry Pratchett have some challenging poker opponent who smiled all the time? Or is this some reference I don't get because the next batch is definitely a pop culture reference done many times over outside these two books? A quick Google search attributes some variation of the Good Omens quote to Neil Gaiman and the actual quote to the Good Omens book, so...it might be a joke they shared and he re-used.

Time for "feeling lucky", which a frequent pop culture reference to the Clint Eastwood movie, Dirty Harry. This reference is made in plenty of other places besides these books.

Here's how it goes down in the Good Omens book:

“Maybe I am,” said Crowley, in a tone of voice which he hoped made it quite clear that bluffing was the last thing on his mind. “And maybe I’m not. Do you feel lucky?”

And here's how it is in Good Omens Season 1:

"Maybe I am. Maybe I'm not. Ask yourself: do you feel lucky?"

Now I doubt you were asking yourself if Crowley was making pockets for that scene in the TV series, but yeah, he was. There's a pocket between his right arm, chest, watch, left arm, and the bottom of the screen. There's yet another between the plant mister, back of the right hand, watch, and bottom of the screen. That then effectively puts his watch and some of his left arm in a pocket between the plant mister and chest. He's got all 5 digits of the right hand visible and his 1 right thumb for a *gasp* 6 digits total. As I've said before, 6 is a number strongly associated with Crowley himself in season 2. Also, when two hands are involved, that ensures over half of the 10 available digits are in use.

Anyway, so here's the "feeling lucky" bit in Guards! Guards!

“Now I know what you’re thinking,” Vimes went on, softly. “You’re wondering, after all this excitement, has it got enough flame left? And, y’know, I ain’t so sure myself . . .” He leaned forward, sighting between the dragon’s ears, and his voice buzzed like a knife blade: “What you’ve got to ask yourself is: Am I feeling lucky?” They swayed backward as he advanced. “Well?” he said. “Are you feeling lucky?”

Meanwhile in The Sandman Volume 2, guess who makes an appearance there and in Good Omens season 1? William Shakespeare.

Anyway, time to move on...

...

Story Commentary

It's Tactical Turtleneck Tuesday!

Well, the implied Tuesday anyway.

In season 1, Crowley wore a turtleneck while plotting to steal holy waiter in 1967.

It's got something to do with him enjoying James Bond movies and James Bond wearing a turtleneck at some point. So I've heard.

So, what's Crowley's scheme? What's so important that he chooses this day of the implied days to wear a tactical turtleneck? Well, this demon has been scheming quite a bit already with the sideburns, the Earthly Objects game, and in that game....pockets. Indeed, there is going to be some big-time pocket-scheming later because The Pocket Trick starts in this episode. Dun dun dun.

But not yet.

This scene with Shax is the last of the three demon visits to Crowley's own demon space where he kicks out the visiting demon from that space.

We aren't going to see Crowley in this special supernatural zone for the rest of the season. These are the clues we get and have to use them with the other pieces of the puzzle found elsewhere.

Studying this scene all the more, I still can't find any humans or animals. There are no flies this time around either. There are still plants inside and outside the car. In fact, the plants outside the car move as if in a breeze behind Shax to make me look all the more closely just in case I still somehow missed a human presence because of the movement. But no, it's still just plants as best I can tell.

As the scene starts, the car mirror from within can be seen positioned as if to face Crowley. That is to say, Crowley presumably made sure those sideburns were long before falling asleep.

In the Good Omens book, Crowley sleeps because he likes it. He doesn't need sleep, but he's found it to be one of the pleasures of the world. So, here, I generally assume the same. It's probably also what allows Shax into the supernatural zone compared to her earlier phone call in episode 1. For that visit, I believe Shax had to wait up to an hour for Crowley to answer the phone.

When Shax brings up the "miracle of enormous power", Crowley looks like he's nervous and trying to hide it. She specifies the power as something "only the mightiest of archangels could have performed".

Crowley says, "How'd you know I didn't do it?" It sounds boastful, but there are a lot of signs in season 2 he's not just saying that. Shax herself doesn't deny the possibility.

That is one of several clues about Crowley's past rank as an angel.

Even so, Shax doesn't question further for if he did it and what it was.

An interesting technicality in the dialogue is that Shax says the miracle was "somewhere very close" to the bookshop—not in the bookshop or from the bookshop, like the angels will say to Aziraphale in an upcoming different scene. No, Shax said, "somewhere very close". The actual lightning Crowley shot out was very close to the bookshop, but it wasn't at night and happened before Beelzebub summoned him—well, according to the deceptive presented story that is. He did recall that power with less dramatic flair very close to the bookshop after the summon that night, I'll admit.

I mentioned earlier in the Earthly Objects section above about the window frame reflections and will add a little more here. I was recently going over season 1 after noticing certain things in the minisodes, and I did find one place where Crowley does have a person, Aziraphale, reflected in his sunglasses and moving. That's been a big factor in why I've considered The Window Trick reflections so important and special. Such reflections generally do not appear in Crowley's sunglasses. Even when people are seen reflected on the sunglasses at least three different times in Good Omens 2 that are not The Window Trick, they are not shown to be moving.

In season 1, this found moment I refer to is not when Aziraphale is discorporated, which is also a special case on its own. Still, this found moment is when they are entering the car after leaving the tent for the birthday party, and Crowley's about to contact Hell to ask about the hell-hound. Crowley has already opened the door to his car and not closed it yet. Aziraphale is entering. Then I can find Aziraphale moving and reflected in the sunglasses. Wow. I always keep an eye out for such things, afraid I've somehow missed it and still have missed that one. When Crowley opens the door to the car during The Window Trick and crosses the threshold, that's when the people reflections first show up. Said reflections do not show the faces of the bodies walking by. This found moment in season 1 does have Aziraphale's face.

~Start excerpt from my main post~

Crowley allowed Shax in by not verbally denying her entry and looking at where she would manifest. He kicked her out by non-verbally revving up his car even more after doing it once and giving her a second look. The home base understood it was about to de-activate and kicked her out.

~End excerpt from my main post~

I prefer to head-canon that the plants are scared because they sense Crowley's anger, not fear. He did easily kick out Shax, and even if his space did not have the special rules it does now, the last demon who didn't leave his car was discorporated by Crowley driving through a wall of fire in season 1.

While studying the minisodes, it looks like even hats affect how a space reads Crowley, so I'll at least acknowledge Shax is wearing a hat here, as she was in her last two encounters with him. Crowley isn't wearing a hat though he has altered his clothing enough to have a turtleneck for his shirt.

I haven't quite figured out how the hats make things go one way or the other because it's more like they change things when combined with factors like if there is fire around and what Aziraphale himself is doing with his hat, such as wearing it, removing it, plain touching it, or has a hat at all.

Focusing on this particular scene of season 2's present day, the sideburns stayed long whether Shax was inside or outside the car while she kept her hat on for both. The space is stationary and acting as a home when Shax enters. There's no visible fire though it's established the street is wet enough for visible water on Shax's arrival. The roof is visible for Shax and Crowley once she's in, though it stops being visible with her after the initial shot with her arm against the seat.

So, whatever is happening with hats doesn't force the sideburns to change here. The longer sideburns usually associated with supernatural readings for the present day—in the earlier episodes—stays on Crowley.

...

That's it for this post. Up next is a special one! We're going to the pub! The visit to the pub is the first touch of The Bigger Thresholds Trick.

...

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

...

Main post:

The Sideburns Scheme

...

Past version of this post:

Post #17 (meeting with Shax in the car)

The numbering between older and newer posts no longer matches because I went ahead and covered the first minisode scene with Crowley this time around. I'm almost caught up to where I left off before I put this project mostly on hold to study Earthly Objects.

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

[sonkitty]

I don't think it's "We need help," but "we" could be stuttered, like "We uh..."

For gestures, I don't think that's a timeout.

To me, that looks like a very possible pocket signal, given what's going to happen. He forms a closed pocket between his left thumb, the skin between his left thumb and index finger, and left index finger. It's over the edge where his vest meets his coat. Eventually, the pocket opens and disappears with his movement as his hands move away from each other.

There is a deeply elaborate pocket puzzle after this scene. It's a shared "Double Door" Act of Crowley doing The Door Trick, linked to Aziraphale doing The Door Catch.

Here are my main links about it:

The Door Trick Visual Representation

The Door Catch Ground Zero

The Pocket Chain Rainbow Connection Part 4 - The Door Trick and The Door Catch

It's going to be a long time before I'll go over this scene more thoroughly to pay attention the pockets with my overall series about Crowley's sideburns/hair (The Sideburns Scheme).

But that's what sticks out to me for just the GIF.

Also, general reminder that when we see Aziraphale and the Metatron talking, that means we aren't seeing Aziraphale's gestures during that part of his narration to Crowley.

Baby made their first .gif, yes yes, thank you i am proud of myself for braving technology!

What is everyone’s take on what he mouth’s here? To me, and have it be known I am incredibly bad at lip reading, it looks like:

“We need help.”

It also looks like he’s miming a ‘timeout’ signal.

please discuss and let me know your opinions lovebugs! and no, there is no dialogue that takes place during this gif if you’re unfamiliar. all these mouth movements are *silent* 👄

#aziraphale #good omens #good omens 2 #good omens season 2 #good omens meta #good omens theories #good omens theory #final fifteen #good omens analysis

[sonkitty]

The Sideburns Scheme - LINK - Update

-Added "especially pockets" to this part:

Another important component in my theorizing is that Good Omens 2 is especially interested in these three things: doors, windows, and pockets—especially pockets. We'll be seeing these things a lot within the spaces when studying the sideburns, especially once I get to making more in-depth posts.

-Added a new section titled "The Past". Here are the contents:

The Past The Season 2 present day storyline is broadly solvable for the sideburns without examining the minisodes. Even so, once those minisodes are examined, other aspects of the spaces come into play as what may affect the hair or sideburns. These things suggest even season 1 had factors affecting the spaces to make his sideburns look more consistently short for its present day. For instance, he never wore a hat when driving and never had plants behind him in the car when driving either in season 1. These things affect how the sideburns change in season 2. In season 2's present day, they shorten during his drives in episode 1 when the plants are shown behind him both times. That happens yet again before the closing credits start in episode 6. In 1941, the car is surrounded by fire, Aziraphale is with him, not wearing a hat, and Crowley's wearing a hat. The sideburns lengthened instead of shortened for that drive. Nonetheless, the content below is primarily based on the season 2 present day storyline. You can find more about the minisodes in the links at the bottom.

...

-Updated about the "Standing with precision" at the ending part for longer sideburns. Here are the contents:

-Standing at the threshold with utmost precision in the season's ending The sideburns are at their longest-length in the season's ending up to the final cut right before the credits start. I currently think it is because of a combination of stillness, his left arm's exclusive touch on the threshold, his right hand pocket touch, and having his legs crossed. Every cut of him from the front ensures a symbol of fire from the coffee shop to his right, and a hat-wearing human somewhere visually to his left, even if it's all the way across the street in the first of the three cuts.

...

-Updated about how the present day sideburns shorten during the drives while specifically including the plants behind Crowley. Here are the contents:

-Driving the Bentley for a long enough time after de-activating it as a home base. His plants are ensured to be behind him as well.

...

-Updated that in addition to thresholds being able to force or counter the effect of shorter sideburns in human spaces...so can hats...still working through fire and roofs:

-Being present in human spaces. Thresholds can both force and counter this effect, dependent on their design. In the past, hats can also help force or counter the effect. There are things about fire and roofs I'm still working through as well.

...

Added the following as an activation point for shorter sideburns:

-Standing with his left hand in his pants pocket as Maggie and Nina are leaving while Aziraphale enters the bookshop in episode 6. He is shown blurred from some distance, so it's easy to miss him. He's to the camera's right behind Nina. Both humans are no longer looking at him. It's a cut that ensures Crowley is briefly visible before the next Muriel scene.

...

-Got more specific about where the car is actually parked each episode when it's near the bookshop.

...

-Committed to saying the border expanded.

...

-General light re-wording in various places. I did remove the "former" of "former demon" since he technically claimed "demon" twice in front of Muriel compared to the one "former demon" in front of Shax. As noted many times by this point, I think Crowley has a deep trust in Muriel.

...

-Added the following when talking about Crowley being alarmed at the demons arriving:

There is something about layering and switches they seem to have in the games they play that I don't fully understand.

-Added the following about the pub and music shop encounters:

Each encounter mentions lights of a similar nature.

-Updated the section on the simple answer to Heaven as part of The Bigger Thresholds Trick to the following:

I don't know the true simple explanation for Heaven though as more time passes, I lean most toward "pretended to be arrested". That's because it's emphasized as how he gets in with Muriel. His own dialogue brings it up once he's actually inside the threshold. It has a little rhythm to it. The problem with that solution is that the ideal one would include a noun, such as "buttons" or "cells" or "doorknobs," to represent the Triple. Another good solution would be something like "engaged in misdirection", especially given the context of the entrance scene itself. The "LETTERS" mailbox is a potential clue as is the doors closing in so specifically on Crowley's watch. So, I'm not fully convinced "pretended to be arrested" is the answer. It's still the one I lean the most toward as of the latest update.

-Added some more wording near the end about the "Separately Together" theme. So, generally updated that part to the following:

Crowley is giving everything he has in himself to see Aziraphale off without truly giving his full self up in the process. Aziraphale is going to a place Crowley will not follow. Even so, the demon of the pair has put pieces in place to help Aziraphale from the distance they will have between each other in the foreseeable future. They both contributed to creating and maintaining a connection with each other during Good Omens 2. They also had to work together separately. They both love Earth, and they are going to work to protect Earth in Good Omens 3. In my view, there's a hidden "Separately Together" theme in Good Omens 2 that one cannot find—or will very much struggle to find—unless you figure out at least some of the pocket puzzles. Linked to The Door Trick is something truly magical called The Door Catch. I found it on accident through never fully solving The Pocket Trick.

#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 sideburns #crowley s2 hair project #good omens theories #good omens theory

[sonkitty]

"I would love to hear other people’s ideas on this too"

Okay, here is my idea.

It is not a bullet. My preliminary guess is it's a clasp from one of Crowley's ties. The clasps are the thumb joints of his Tied Hands.

Such clasps are too big for what is in Aziraphale's mouth, but Crowley can change the shape of his entire body to get either bigger (The Resurrectionists minisode) or smaller (season 1, phone). Both times, he uses his tongue.

So, he sized it accordingly during the kiss. Even though Crowley manifests his clothes, this part of him can still be held and used by Aziraphale, likely because of the special connection they formed with borrowing each other's homes.

ANYWAY...there is a special hidden Magic Trick at the end that is called The Door Catch instead of The Bullet Catch. It is linked to Crowley's next-to-last Threshold Trick, The Door Trick.

I found The Door Catch on accident while struggling to solve the puzzles of The Pocket Trick. Pocket trickery uses word play and imagination. Threshold trickery has a rule I believe is, "Never do the same trick twice."

It's a lot to cover The Door Catch fully, so for this little not-bullet that I think is a thumb joint, I'll mainly point out that I think Aziraphale puts it back in his mouth here:

That happens to be immediately after he is linked into the Pocket Chain.

That's this particular video frame ("dash of nutmeg"):

And here is where he uses it:

Check his lower set of teeth, in the middle, aligned with the knot for his bow-tie.

Most of my material on The Door Catch can be found here.

The Pocket Chain Rainbow Connection Part 4: The Door Trick and The Door Catch

Also, because the story puts so much effort into this other not-bullet thing, I'll say that Aziraphale is given a special "Ground Zero" cut for The Door Catch for when he looks to Crowley. He's thinking or saying, "Here goes nothing"...because he's at Ground Zero (imagination, word play, Rule of Three to get each of them 3 shots, etc.).

"Nothing lasts forever."

"Here goes nothing."

Michael babygirl, I apologize now for the close-up screenshots of your mouth I am going to put on the internet. Call Neil if you have issues with it, it's his fault.

Honey, why are you chewing on a ball bearing? I was going to be lenient and say it's a glint off of some saliva but nah she's suckin on a damn pie weight. I didn't see her take a bite of any dippin dots, did you? Who let her near my stash of Buckyballs that I was hiding from the Consumer Product Safety Commission? Just because you are bbgurl doesn't mean you get to eat bbpellets.

#good omens meta #good omens 2 #good omens theories #aziraphale

[sonkitty]

Crowley S2 Hair Post #17 Redone

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 2, The Clue, Permit

...

Introduction

Well, I said I would decide when the time came, and the time has come. So fine, here we are. As I said way back on my post about Before the Beginning, I have a high preference for present day Crowley as it is.

The whole story and its set of games include various challenges, and the minisodes are no exception, especially when it comes to analyzing Crowley's hair.

Surprisingly, the present day sideburns are still broadly solvable without the minisodes. If anything, they are a guide for trying to figure out the minisodes themselves by telling an audience player to seriously consider the spaces as the hair changes.

I've already admitted these things are a bit over my head when it comes to these memories, but I'll go over the how and why of it a bit more.

A good place to start is The Magic Trick You Didn't See theory I've referenced before, most notably in Post #8.

Reminder, the core theory there is that the Metatron has access to the Book of Life and has been editing it the whole time. More to the point, he's been editing mostly Aziraphale's memories and maybe Crowley's as well.

Now, something I have not said explicitly in my posts from that theory is that the author themself says Good Omens 2 has bad writing in it, presumably on purpose.

Sorry, but it does.

You know what? I'm not a professional author or even much of a reader, but that resonates.

Their idea is that the bad writing is a clue that the Metatron is editing the Book of Life, and he is a bad writer.

Well, I still think the Book of Life is actually in that matchbox, but otherwise, the idea strikes me as quite plausible. Well, sort of. You really shouldn't be able to edit someone's memories. I personally don't think that's a good story-telling device. What's the limit? What are the rules? Why not just write the story exactly as you want it to play out or the person exactly as you want them to be? Unless it's a game?

But I'm not a professional writer, especially Neil Gaiman, and I do believe the "Crowley storming out" sequence is meant to be an obvious story edit.

But not by the Metatron. That was a team effort. This effort suggests the "rules" of such a game would then entail that the Metatron isn't allowed to be the only being that can edit the story (or memories).

The Earthly Objects game is being played, and this game is powerful stuff.

As I've said, Earthly Objects itself might be a book that is a game. So, combining these ideas, Earthly Objects might still then be a book that the Metatron himself can edit, instead of the Book of Life. He still has to play the game at the end.

And certain players of a high enough caliber can make their own edits.

Then we approach what I think is a tricky question for this story.

What is the character point of view?

This question feels like a trap because of the spaces acting like a point of view within the game. People are going to ask the question anyway, especially with this episode giving at least three hints as to who was remembering a scene and who is about to remember a scene.

But since the Earthly Objects game exists, the Metatron could be editing parts, and Crowley and Aziraphale themselves can also be editing parts, an audience player is going to have a very hard time finding the answer.

My understanding is that the memories we see aren't just a person's memories.

These memories are stories, and the spaces in these memories still have readings of Crowley based on various factors though those factors aren't so easily and plainly paralleled to the present day ones.

The stories themselves, I believe, are embellished and contain hidden messages between Crowley and Aziraphale, even if they have to deal with the Metatron intruding on those memories and trying to separate them in the end.

For whatever it's worth to anyone on the character point of view question, I do think Crowley is the closest thing we can have to that.

Aziraphale is the surface-level point of view and messenger.

Crowley is the layered-level point of view and messenger.

On my first viewing, the Good Omens 2 story felt more like Aziraphale's story. It was disappointing and felt quite lacking on Crowley's end of things.

But when I dug deeper and found the games, things changed. I can't see the extent of Crowley's point of view on the story without playing the games. I can't speak for other people, but that's how I feel. The story is amazingly and beautifully different with the games. Since I have played them, I do think finding 6 Threshold Tricks is a big deal, especially with my limited understanding of how much The Pocket Trick affects so much else.

The Threshold Tricks help make the bookend nature between Crowley and Muriel scenes stand out. In turn, Crowley himself having bookend solo cuts for the season stands out more too. He's who we saw first in Before the Beginning. He's who we will see last before the credits slide his cut over to the side and start rolling. He "pockets" the story before those credits start.

So, that's why I have a hard time with the hair in the minisodes and understanding the character point of view. I'll still pass along my limited understanding throughout these posts.

...

Episode Title

This episode has got some nerve being titled The Clue!

It has the first "touch" of The Bigger Thresholds Trick, two more touches for The Sunglasses Trick, and the first two touches of The Pocket Trick. The Pocket Trick starts this episode—The Pocket Trick!!!

The Pocket Trick is loaded with so many clues, such as the most likely place to discover the existence of the Tied Hands.

This episode also has a reflection of Aziraphale in Crowley's sunglasses as a clue for The Window Trick.

There's like 10 million clues in this episode!

If the challenge is to guess The Clue that is not the record but to pick the most special clue of the clues or something, my answer is the Pocket Frame touch point in The Pocket Trick, Triple Part 2. That Pocket Frame is for capturing the Green with the rainbow. It happens before Aziraphale even "proposes".

Here is the video frame in question:

I will go over it more when I get to that part of the episode.

But anyway...

I'm using Crowley's name as a general preference and figuring I can get away with it because the official subtitles do.

Images are brightened as I see fit.

...

Hairstyle Notes

Crowley's hair is shorter than what's going to appear later, but in this minisode, short does not necessarily trend human as it does compared to the present day storyline. It doesn't necessarily mean Crowley's point of view or Aziraphale's point of view either.

This length goes down mostly to his shoulders. When he bows his head with the scroll, some skin can be seen at the neckline of his cloak.

The hair is not just short though. The sides of Crowley's hair are more fluffy and curly than what's going to be shown when he has shorter hair around Job and Sitis.

What's worth considering about the space?

Earth is a lot younger.

This reading looks more like "open" because of at least two factors that aren't Aziraphale or the goats or Crowley himself.

There are no humans in this scene.

Not only are there no humans, there are no human-built or human-inhabited structures with thresholds visible. I keep looking in case I missed it somewhere, and I'm not finding them.

The space is wide, open, and vast. There is a ravine in the background.

I still can't find any humans or human-built structures.

I can find goats, water, plant life, and rocks. There is also a supernatural ball of fire active during most of the scene though it is not formed until after the scene starts and dissipates before the scene's end.

In this particular story within the story, a stronger curl or fluff in the hair is associated with what most closely matches a "supernatural" reading later when human-built structures are involved.

...

Earthly Objects

(For reference: Earthly Objects)

Crowley touches one of the goats. Aziraphale touches a rock by eventually going to stand up on a specific one. Crowley touches the scroll.

Neither addresses the other by direct name though Crowley is addressed as "Demon" by title initially. The names said are Almighty God, Almighty, God, Satan, and Job.

Questions include "Ah, shall we begin?" and "Where was I?"

Time to pay attention to the pockets.

With the changed costume, there are no present day Tied Hands. However, quickly in their place are threads on Crowley's chest that form pockets over him already.

Crowley creates a pocket between himself and the goat just by grabbing it.

He is pocketed between goats just before he creates the large supernatural ball of fire. Not only that, he briefly crosses his left arm horizontally above his right arm when "Land of Uz" appears on screen.

With his right-side snake tattoo being more evidently visible on his face than in preceding cuts, Crowley crosses his arms upward, then uncrosses them as his means to create the giant fireball.

When Aziraphale shows up, Crowley creates pockets between his arms and his head before fully lowering his arms. As a general guess, that helps keep the ball of fire where it is above him.

The scroll itself creates a massive pocket over the landscape with a small opening between Crowley and Aziraphale themselves::

Crowley is maintaining position under his fireball until he unleashes it. It's like his own temporary supernatural roof.

Aziraphale is notably touching his own robe at times during the scene.

When the crows appear, they are visually pocketed between Aziraphale's and Crowley's heads.

My tangential reading to improve my play has me at finishing Pyramids by Terry Pratchett and starting on Guards! Guards!, which is the book I've found most commonly recommended for reading first instead of going by published order. Yes, I still chose publishing order anyway. Pyramids has a funny-but-cruel "short-handed" joke, which is not a pun I've thought of yet, so I'll be keeping it in mind.

I'm also on The Sandman Volume 2 by Neil Gaiman. I'm in the early part of it but The Threshold was heavily emphasized with the introduction of Desire, and I've been emphasizing thresholds as quite important for this Good Omens 2 story in my own theories.

...

Story Commentary

The opening immediately gives us a year, 2500 BC, with some film grain on the cut as a visual alert that we have entered a story within the story we are watching. This part also helps alert us to something like a movie and different than the sign boards used in season 1. Between Crowley and Aziraphale, Crowley is the one the story tells us who likes movies. He'll mention a "Richard Curtis film" later this episode and was at a movie theater while waiting out whenever Hell would come for him in season 1.

In other words, when looking for a point of view, that's a likely clue, especially since much like Before the Beginning, Crowley is shown first, and he is alone.

Once Aziraphale arrives, does the scene shift to his point of view?

If so, I think it's shared because the stories themselves are like coded messages written between the players, mainly Crowley and Aziraphale, with some potential Metatron invasive edits.

Due to the scenes with the kids later, it's possible the camera angles hint to the point of view, at least sometimes. So, if that's the case, I think that Aziraphale's POV on Crowley is at least the 3/4ths Crowley's left view of Crowley's upper body and face.

That's this general angle:

This particular scene is exaggerated in ways that remind me of a cartoon, such as the scroll rolling its way all over the vast space. That's a clue for someone figuring out the hair about the nature of the space too. That's the type of clue I would expect from Crowley instead of Aziraphale because again, between the two of them, he's the one who is known to watch cartoons.

The scroll appears from nowhere, and once dropped, it doesn't actually go anywhere in the scene itself either. It's not on the ground. It went into that same "pocket" dimension other cartoon items do when items are grabbed for the convenience of a scene.

This scene is a parallel to the closing scene of the minisode, which is far more serious in tone. That makes it the front bookend, or part of an outer pocket, to the minisode itself.

Aziraphale alerts us to how "unreal" the scene is by saying, "This can't be real". The line itself then has two opposing meanings. The memory story can't be real, or isn't quite real, but the contents of the scroll allowing Crowley to destroy everything Job owns is "real".

Hence, maybe things didn't happen this exact way back then, but the messages inside the story are still going to be real enough to hold value to the characters.

In the dialogue, Crowley at one point says, "I am a demon. Maybe I'm lying." I can't find the post I have in mind, but I know there was one where the author remarked that was a signal for Aziraphale's POV since he talks like that in season 1. When Crowley says, "Would I lie to you?" Aziraphale says, "Well, obviously. You're a demon. That's what you do." That tracks...except of course if this memory is how Aziraphale got such notions into his head to begin with. No one ever said the game was fair.

But POV aside, I feel it worth pointing out that this logic works under the premise of "correlation equals causation." As in, the statement implies because Crowley is a demon, he is a liar. With the Rule of Three in Earthly Objects, this logic will repeat two more times during the episode. It will also show that extremely similar literal statements can have strongly different contextual meanings. Here, it means Crowley himself is suspect. Later, it means Crowley was manipulative to use Aziraphale to get him into the mansion and reach the kids. With the concluding scene of the minisode, it will mean a lie to oneself as a shield for admitting loneliness.

As I prefer to interpret the story, Crowley is not a liar because he is a demon. Crowley is a liar because he uses deception as a strategy, for his own side. That can be part of his job as a demon or part of coping with his own existence.

I have to do a lot of questioning for correlation and causation to play the games in the story itself.

In trying to examine how the spaces read Crowley, a few things came up in my notes that are worth mentioning here.

Fire is a relevant element to Crowley himself and occasionally the only visible light source within a scene. That's almost true of this one. Presumably, there is a sun out there somewhere to light the day, but it's never actually shown on screen. Aziraphale's halo—or whatever that thing is surrounding him—also acts as a temporary light source.

However, while the supernatural ball of fire is actively in place, it is shown to affect the lighting on Crowley himself, making his red hair look all the more red, for example.

General reminder, that the quote on the matchbox shown in episode 1 refers to "sparks of fire". I've mentioned I think a lot of things already suggest that link between that quote and Crowley. Fire is going to show up repeatedly.

Another thing that comes up is...hats. Or, in this case, a headband. This headband itself actually changes within the spaces too. Why hats? Why head gear that's not just his sunglasses? Do I have to start paying attention to other head accessories like earrings and regular eye glasses? I don't know. I haven't figured it out. What I have figured out is that at the end of The Door Trick, a symbol of fire can be found to Crowley's right, and a hat worn by a relevant passing human can be found to his left. He is "pocketed" between these two things that keep appearing in the spaces of the minisodes as if they have some meaning. A hat-wearing human was behind him for another crucial part in the preceding cut of Crowley facing the camera.

These are things I can also find in a number of places in season 1 once I know to look for them.

I have mentioned that I suspect Muriel's helmet helps them somehow in their part with The Bigger Thresholds Trick and being unable to fathom how I could ever figure that one out. It's still true.

If I progress further, I will update accordingly as time allows.

Yet another thing that comes up is...roofs. Roofs?!

Yeah, roofs. I was very perplexed at that.

This game is a mind trip, let me tell you. I wrote it out in my notes about my confusion for why the story wanted me to figure out something with the roofs. I know I've seen the roof of the elevator when Crowley and Muriel enter. I know Crowley touches the edge of the roof to his car in The Window Trick.

After reviewing The Door Trick and The Door Catch yet again, but not finding whatever mysterious roof thing I thought I should, I decided to look at the ending credits.

I am not joking that I wrote this in my notes:

"Why am I saving and watching the credits when the elevator roof is still lacking? What does my subconscious sense as relevant that I don't? Is that what's happening? So confused."

And do you know what happened?

Here is what I wrote:

"This game is such a mind trip.

Unbelievable.

My subconscious knew to check that Crowley raised his head enough to make a fucking self-pocket of hair that can be seen in line with the roof of his car when Aziraphale smiles before they are both blurred and disappear from the credits. WTF.

Crowley narrows his eyes when Aziraphale smiles.

That's what my subconscious wanted me to find because of the roof thing!!!"

I can't believe this game!!!

Here's my post about it before publishing this one: If no one ever told you...

Alas, while I have found the fire-and-hat pocket for the end of The Door Trick, I really don't understand why this story thinks those things are worth considering or what they mean. I just know I found a pattern that I suspect is intentional.

Anyway, time to move on...

Muriel

(For reference: Bookend Buddies - Crowley and Muriel (Part 2))

The scroll minisode scene acts as a front bookend to Muriel's one and only minisode scene in the season. Muriel is wearing a headband with some gold. It is not the exact same headband that Crowley wears, but the similarity is nonetheless noted.

I went ahead and made a composite picture to look at both of them their headbands:

The scroll looks very similar to the one Crowley held that disappeared in the preceding scene. Meaning, it's a same-or-similar earthly object they each touch even though they have no other form of interaction during the minisode.

Both Muriel and Aziraphale stand the entire time. Muriel has a desk much like what can be found in the present day scenes, but they have no chair as Michael does. The desk has folders on it too. These things remind of me of the present day form of Heaven since Muriel had a desk and folders there too.

For pockets, Muriel makes one with their hand and the scroll, some pockets between themself and the desk, and some pockets with their own hands.

Satan is brought up in the conversation but not the actual demons working for him. That is to say, Crowley is not named specifically in this conversation.

Muriel has no interaction with Gabriel. The two are not on screen together during the entirety of episode 2. Aziraphale talks to Gabriel and Michael when not with Muriel. When a number of angels show up at the end, Muriel and Uriel are not among them. Whereas both Crowley and Muriel touch the scroll, it is laid out on the floor when Gabriel is on screen, so he never physically touches it.

Crowley's scene is the front bookend to Muriel's scene. Gabriel's scene is the back bookend to Muriel's scene. Meanwhile, Aziraphale is a common thread between all three.

...

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

...

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 #good omens theories #good omens theory #good omens speculation

[sonkitty]

Crowley S2 Hair Post #16 Redone - LINK - Update

-Added that the Overhead Light present for things happening with the miracle is shaped like a large flame. Fire is a thing I've noticed in my minisode studies for the spaces. I am hoping to finally publish the next post in this series soon.

-Added that the Overhead Light is not on screen when Crowley emphasizes, "I am not your friend," to Gabriel.

-Changed wording to saying almost full moon instead of quite possibly a full moon. I think at this point, it's an almost full moon, and that's such a curious choice in the story. Why almost?

-Added that the number 9 is also special because it's the result of 3 times 3.

-Updated some stuff about the overhead lights with the touches in The Sunglasses Trick:

For one of those touches, I can at least see some trickery looks to be giving the Belt Head an Overhead Light. For the others, they might not actually be getting the overhead lights due to the movement or lacking lights that happen within the scenes. There is something is very specifically happening with Triple Part 1 and Triple Part 2 here in episode 1 at night. These touches are part of a switch that happens later since the Triple switches to become a Single in episode 6.

The previous version said the overhead lights were not happening for the other touches so had missed there's at least something for the Belt Head in Single #3, which is the same touch where the Singles actually finish and switch to a Triple.

-Added the jump down as another possible thing for what sets off the alarms.

-Since I went through the trouble of actually making this picture for my own reference, I may as well share it so added it to the post. The red line helped me see how precisely the Crowley's ear goes above this special Overhead Light. Here is the added picture, found near the end of the updated post:

...

#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 #good omens theories #good omens 2 theories #good omens theory #good omens speculation #crowley sideburns