#Good Omens analysis

[melbatron5000]

The Big Damn Kiss

Buckle up, my fellow Good Omens Ineffable Mystery Puzzlers, Crackpotters, and Assorted Brainrotters, because I learned something HUGE yesterday.

This will be a bit of a long post, because I want to show you exactly how I got where I am. I want you to understand. I want to put all the naysayers to bed (ha! But I'm still gonna try), and settle this once and for all.

I know (almost) exactly what Crowley gave to Aziraphale during the kiss.

DO NOT TAKE ANY OF MY THEORIES TO NEIL! PLEASE!

Okay? Okay. Thanks. Shall we begin?

Ahem.

Firstly, whether you believe me or not, I am 100% certain that Crowley did, indeed, give something to Aziraphale in his mouth during The Kiss. I've covered that in the link previous. Okay? Okay.

I did not know what it was. I've now heard theories that it was a bullet (nope), a ball bearing (nope), hellfire (nope), and no one, NO ONE has suggested what I see. (If you have, hello! Talk to me!)

Here's our first foreshadowing Clue:

And here's our next foreshadowing Clue:

And the next:

And our last Clue:

With me so far? Well, that first GIF is a bit off, I couldn't find one of Crowley actually spitting out the flies. But he does. When Beelzebub first drags him to Hell, he actually goes "Pleaugh!" and spits out four or five flies.

Moving right along, we come to Crowley in Heaven with Muriel, looking at the trial. We learn two important things here:

One, Gabriel doesn't have a desk.

Two, Muriel does. Where they keep the records. And it's a bit lonely. Every few hundred years, someone comes and asks for something. Muriel can't access the sensitive ones, you have to be pretty high up. A throne, dominion, or higher. Like, maybe Supreme Archangel?

So if Gabriel doesn't have a desk, whose desk is he at when he's getting ready to leave Heaven? Of course I can't find a damn picture of Gabriel at the desk, but it's Muriel's. Where they keep the RECORDS.

Gabriel puts his memory into the fly, then gets on the elevator to go to Earth.

Now, when Gabriel opens the fly with his memories inside, we find out that it's a container. Bigger on the inside. You can put thing(S) in it. The bit we see of him remembering is shot in two parts, one where he's flying down a red tunnel, one where he's flying down a blue. If you slow this scene down and watch, you can see that he is NOT looking at just his own memories. There is more going on here, more that he was not present for. @embracing-the-ineffable put up a great meta about that here. Go look!

Now I figured Gabriel must have taken something else. Something important. Something useful. Something he meant to give to Aziraphale, except he forgot.

I also figured he must have left whatever it was in the fly when he took his memories out. Crowley must have realized while watching the trial footage that Gabriel also grabbed something else. I don't know when Crowley grabs the fly, but he does. And that is what he gives to Aziraphale in the kiss. Why? Well.

I had no idea what Gabriel took until I started working on the chiastic structure of season 2. I'm not done with that analysis yet, but let me show you one thing that I have found so far:

(The numbers are just to try and help me navigate the story and its events without time stamps)

My note #357 of what happens isn't quite right, but when I saw the only two times Aziraphale says "I forgive you" are towards the beginning of Season 2 and towards the end, I realized I had something.

Rephrase line 357: Crowley's kiss is forgiven IN EXCHANGE FOR RECORDS.

(Not that I think Crowley's kiss needs to be forgiven. It's just what Aziraphale says, and had to say at that moment, because the Metatron was listening in.)

What does Heaven in Good Omens remind us of most of all?

A big corporate entity. And what do powerful people do when they get fired from a big corporate entity? They download all their emails while they're cleaning out their desks. Damning emails. Emails that can be used to black mail or even destroy big corporate entities. Or, ya know, maybe they swipe some sensitive RECORDS?

Oh yes.

Records that Gabriel meant to give to Aziraphale, but he forgot. Records that Crowley realized Gabriel had put in the fly. The fly that Crowley grabbed once Gabriel had his memory out. The fly that he gave to Aziraphale when he kissed him. The fly that no longer held Gabriel's memory, but did still contain those damning records.

Here's Aziraphale reading the records:

Here's Aziraphale being horrified and outraged by what he's reading:

And here's Aziraphale realizing he has got some GOOD DIRT on Heaven. Maybe enough to bring them down:

That's it folks. I have no idea what the records actually say, and maybe we're not meant to know until season 3, but whatever it is, it's GOOD.

That's my story, and by God Herself, I'm sticking to it.

#good omens #good omens 2 #crowley #good omens meta #aziraphale #ineffable husbands #aziracrow #good omens analysis #good omens fan theory #ineffable mystery #aziraphale elevator #corporate heaven #the big damn kiss #the kiss #good omens muriel #good omens gabriel #good omens beelzebub

[noneorother]

Hi, I’ve only read one meta by you yet, but you seem to be just the right person to ask this: did you notice how many people in the scenes outside the bookshop are wearing orange, in series 2?

Any idea what that’s all about? Is it just esthetics, an echo of the bookshop‘s columns, or does it have a filmographical significance? Everytime I watch the show there seem to be more orange clothes, once you start seeing that, it’s crazy how many there are!

Hey thanks for the ask! I mean, you have until 2026 to read more of my drivel so; pace yourself! Orange clothing is definitely an *interesting* choice for extras in film. You almost never see it in background actors clothing because... it draws the eye! The fact that they included so much orange, yellow, and loud patterning in the extras in season 2 is a real decision to throw film tradition and S1 cannon out the window.

I would like to submit my own theory that the choice was made as a deliberate nod to time travel. But first, a little background.

Compare two crowd scenes on Whickeber street from each season: It's kind of nuts that even at microscopic resolution we get such a HUGE difference.

That's not to say orange is missing. Here are the only two extras wearing orange in S1, and they happen to be in the same scene in episode 2, when Newt and Shadwell meet for the first time, discussing occult beings "hiding in plain sight". (witches in this case)

We also get some pretty obvious bright orange in main characters in S1: Madame Tracy and Beelzebub. We meet Tracy in orange as she immediately reveals to Newt multiple hidden identities, see her again wearing orange hair when she communes with spirits, and finally all decked out in orange when she is being possessed by an angel (a person hiding inside a person). Beelzebub wears an orange sash and medal as a high ranking Duke of Hell, so orange is maybe their house colour, or a prestigious colour for hell in general, but after season 2 we know Beelzebub doesn't always have the same face, and is hiding intentions of their own.

Orange doesn't have much biblical significance, mostly because the colour orange was mostly seen as "fire" or "bright" coloured until way after the bible was transcribed, and orange dye wasn't really a thing in the European world until significant trade with east Asia developed. Here's the only other bright orange thing to appear all season, (in a deleted scene): Crowley hiding in plain sight, posing as a maintenance worker.

I think we might be able to draw the conclusion from season 1 that orange is a colour associated with the "Hidden Occult/Power". Not necessarily only hell, but more as something otherworldly, that's hidden in plain sight. (Interestingly, we never ever see Anathema or Agnes Nutter in orange. So I wouldn't say it's related to witches at all.)

In season 2 however, orange is everywhere. More specifically on extras' clothing and the outside of Maggie's record shop.

Maggie seems to be the only main character to wear bright orange herself (E2).

But this is by far my favourite one: in the back of the crowd of demons getting a Shax pep talk in S2E5, there's a regular human extra wearing bright orange sitting amongst the army, completely unnoticed by both demons and audience, observing the plan.

This really set off alarm bells for me, because there's a very Terry Pratchett precedent for powerful and unnoticed orange-wearing characters in the discworld series : the time monks.

Terry's character Sweeper seen here on the original cover of Night Watch. The time monks' clothing and general philosophy is based on Thai buddhist monks, who (like in many buddhists sects) wear donated, saffron-dyed robes in orange and yellow/red to symbolize flames of purity, and to separate them from the world of gross matter, like a fallen leaf from a tree.

In the discworld novel Night Watch, the time monks are responsible for monitoring and cleaning up the timeline, pruning it like a bonzai tree. They are everywhere and yet unnoticed, inside the flow of time yet not of it. And they are the ones who guide the main character through the process of being stuck after falling back through his own timeline, into his own past.

(Excerpt from the book where Sweeper is explaning time travel to Vimes).

Extras circling in the background are called "background actors" because they exist to not be noticed. Put in extras wearing orange/yellow and bright red, and suddenly you can track them, and notice how they are part of the crowd, but stand apart from it. You can notice when they go missing from one cut to the next, or appear to circle or jump between frames. Many extras, including the demon army watcher, also seem to be circling, and monitoring the goings-on in the world of Good Omens. Based on the meaning of orange from S1, it would seem these mere background actors are more than they appear to be. Could they even be checking up on unwarranted time distortions or timeline ruptures happening around a certain Bookshop...?

#good omens 2 #art director talks good omens #good omens meta #go season 2 #go meta #good omens season 2 #good omens season two #good omens #go2 #good omens analysis #good omens s2 #good omens theory

[youryurigoddess]

Maggie’s pendants and good omens

Yes, you’ve read it right. This post is going to deal with some literal good omens, not just title drop! But first things first, let’s take a closer look at the topic of this analysis.

A toucan

The top necklace is a lovely design involving a crowned toucan — believed to be a messenger of gods able to travel between the spiritual and the physical world, often associated with rain and rainbow (a Christian symbol of divine love, grace, and mercy, a reminder of the covenant between God and humanity to spare the latter from future trials like the Flood) — encircled by a gold band (a symbol of infinity, eternal love and promise) spun by a small butterfly (a symbol of transformation, hope, and rebirth). All three symbols combined seem to deliver a divine message of hope for rebirth, possibly resurrection, and the eternal life. Very fitting in the context of the Second Coming.

The fact that toucans were revered by the native South Americans as rainbringers strengthens the symbolic meaning of another type of bird we can spot on Maggie’s clothes in the very first episode, as her character introduction — a swallow. Swallows flying low are also believed to be harbingers of rain and bad weather. If you see one close to Earth or a building, it means that there’s a storm — or a certain biblical tempest — on the horizon.

In Ancient Greece and Rome swallows were representing Aphrodite, goddess of love. In Christianity they were considered to be of God and symbolized hope, awakening, and revival of life as messengers of spring and protectors from winter colds. Also helped Jesus on the Cross — according to a Christian legend, a group of swallows was supposed to take out the thorns from the Crown of Thorns and alleviate His Passion on the Cross. Humans banding together in the name of good have been a big theme in the series ever since The Them made an appearance, and from what we already know about the unpublished Good Omens sequel, we can assume that Jesus is going to take the spotlight in the upcoming season.

Maggie definitely attracts sudden inexplicable weather changes, like a thunderstorm with weirdly localized lightning strikes or a sudden downpour. And we’re still waiting for some vavooming (and the following happy ending) to happen in S3.

A heart with an eye

Now, the more nuanced clue hidden in the bottom necklace. I know that some of us were trying to tackle the concept of Maggie’s eye in a heart pendant suggesting her Masonic connotations, but this symbol (or the Eye of Providence in general) isn’t strictly Masonic, it isn’t even limited only to Judeo-Christian art. And while it is used a lot in Christian iconography, we should focus on a very specific example of it already referenced in the show.

Buckle up, we’re making a parachute dive into S1.

It seems like our old friend, Agnes Nutter, still has our backs.

Prophecy 4020:

Let the wheel of fate turne, let harts enjoin, there are othere fyres than mine; when the whirl wynd whirls, reach oute one to another.

If you look closely at the bottom right corner of this frame, you will see that as an illustration for the above prophecy the production team chose a 1611 engraving titled The Minde should have a fixed Eye On Objects, that are plac’d on High first found in Gabriel Rollenhagen’s Nucleus emblematum selectissimorum.

In 1635 it was published in A Collection of Emblemes, Ancient and Moderne Quickened With Metrical Illustrations, both Morall and Divine, Etc by George Wither with the accompanying hymn:

A Heart, which bore the figure of an Eye

Wide open to the Sunne; by some, was us'd,

When in an Emblem, they would signifie

A Minde, which on Celestiall Matters mus'd:

Implying, by the same, that there is nought

Which in this lower Orbe, our Eyes can see,

So fit an Object for a manly thought,

As those things, which in Heav'n above us be.

God, gave Mankinde (above all other Creatures)

A lovely Forme, and upward-looking Eye,

(Among the rest of his peculiar Features)

That he might lift his Countenance on high:

And (having view'd the Beauty, which appeares

Within the outward Sights circumference)

That he might elevate above the Sphæres,

The piercing Eye, of his Intelligence.

Then, higher, and still higher strive to raise

His Contemplations Eyes, till they ascend

To gaine a glimpse of those eternall Rayes,

To which all undepraved Spirits tend.

For, 'tis the proper nature of the Minde

(Till fleshly Thoughts corrupt it) to despise

Those Lusts whereto the Body stands inclin'd;

And labour alwayes, upward to arise.

Some, therefore, thought those Goblins which appeare

To haunt old Graves and Tombes, are Soules of such,

Who to these loathsome places doomed were,

Because, they doted on the Flesh too much.

But, sure we are, well-minded Men shall goe

To live above, when others bide below.

And hey, guess what 4020, i.e., the number of the prophecy, symbolizes in Strong’s Concordance? Periergazomai, a Greek word meaning “to waste one's labor about something” — to meddle, going beyond proper boundaries (where a person doesn't belong); to fixate on what others are doing, instead of doing what the person himself is supposed to do.

It appears only once in the Bible:

2 Thessalonians 3:11: We hear that some among you are idle and disruptive. They are not busy; they are busybodies. Such people we command and urge in the Lord Jesus Christ to settle down and earn the food they eat. And as for you, brothers and sisters, never tire of doing what is good.

To make things slightly more interesting, in the Hebrew version of Strong’s Concordance 4020 has another meaning — migbaloth, meaning “twisted things, i.e. cords”. Which doesn’t make much sense until we read the actual passage:

Exodus 28:24 and two chains of pure gold, twisted like cords; and you shall attach the corded chains to the settings.

And compare it to the most recent post on the topic published directly by Word of God:

What if all these clues didn’t apply to Maggie and Nina, but Aziraphale and Crowley instead? What if Maggie served as a messenger — consciously or not — just like the toucan, delivering the prophecy to those who need it most?

“When the tempest comes and darkness and great storms, and the dead will leave their graves and walk the Earth once more and there will be great lamentations for the end is near, don’t lose hope, hold hands and look up.”

Basically what Aziraphale and Crowley already did when they performed the 25 Lazarii miracle, only with no interference from Gabriel this time around.

And, if both Strong’s Concordance and Maggie’s personal addition to her second pendant are to be believed, with a wedding band somehow involved in the process.

#everything has a meaning #the invisible and unbreakable line that joins Crowley and Aziraphale #two chains of pure gold twisted like cords #never tire of doing what is good #don’t lose hope #hold hands and look up #the good omens crew is unhinged #good omens props #good omens costumes #the nice and accurate prophecies of agnes nutter #agnes nutter #good omens #maggie service #good omens meta #good omens analysis #strong’s concordance #yuri is doing her thing #ineffable husbands #wedding bands

[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

[inafever]

Oh my god I've been so stupid

GIVE ME COFFEE OR GIVE ME DEATH

It was an outright goddamn death threat

You either take the coffee, or take the death

Metatron you nasty little piece of shit

#good omens #good omens 2 #gos2 spoilers #good omens spoilers #gos2 #aziraphale #crowley #ineffable husbands #good omens season 2 #episode 6 #good omens season two #good omens season 2 spoilers #gomens #gomens 2 #good omens theory #good omens analysis #ineffabel divorce #aziracrow #neil gaiman #the metatron

[hoarder-of-dragons]

[Season 2 summed up]

Aziraphale's thoughts: Oh I shall team up with Crowley and make Nina and Maggie fall in love and make them confess. Oh what if I also confess then. I need to prepare everything to set the scene.

Still Aziraphale's thoughts: Ooohh a ball with dancing and tiny snacks to make it fancy and it will be like a Jane Austen novel coming to life and then I will ask Crowley to dance and all our problems will go away as I stare into his eyes....

Crowley's thoughts: Keep Aziraphale safe Keep Aziraphale safe Keep Aziraphale safe Keep Aziraphale safe FUCK YOU GABRIEL Keep Aziraphale safe Keep Aziraphale safe Keep Aziraphale safe PLEASE HOLD MY HAND AZIRAPHALE Keep Aziraphale safe JANE AUSTEN WAS AN AUTHOUR?!?! Keep Aziraphale safe-

#my autistic bastard and adhd disaster #poor souls cant communicate #AM I WRONG #good omens meta #good omens analysis #good omens 2 #good omens #good omens season 2 #incorrect good omens #good omens spoilers #neil gaiman #incorrect quotes #ineffable husbands #aziracrow #ineffable partners #aziraphale #anthony j crowley #david tennant #michael sheen #incorrect good omens quotes

[crowleys-hips]

ok i know everyone's analyzed the shit out of the Job minisode. but i think everyone has overlooked this Very Important detail, and it's this:

do you see it?

golden kermit collar

thank you for listening

#good omens #good omens s2 #good omens 2 #good omens meta #good omens analysis #aziraphale #aziraphale good omens #good omens aziraphale #good omens theory #ineffable husbands #ineffable idiots #ineffable lovers #ineffable partners #aziracrow #crowley #aziraphale x crowley #crowley x arizaphale #air conditioning #good omens shitpost #good omemes #good omens memes #xanshitposts

[sighed-the-snake]

Wait a minute. Wait a minute. This line hits differently after S2.

You two?

The Antichrist KNOWS ALL ABOUT THEM?

What did he do for them that he told them so confidently not to worry about their future? What did he change while he was in God Mode editing reality? WHAT DID ADAM DO?

#the antichrist knows the angel and demon are in love #Adam Young ships AziraCrow #so what if I'm writing too many fics at once THERE IS ROOM FOR ONE MORE #good omens #good omens meta #good omens fandom #good omens analysis #ineffable husbands #ineffable partners #aziraphale #crowley #adam young #aziracrow

[writingdinosaur]

I don’t think we talk enough about how the head demons used to be Crowley’s friend group up in Heaven. I really desperately want to know more about “Lucifer and the guys.” I want to know about him piggybacking around with Furfur and how he and Beelzebub used to tell scary stories to cherubs.

I want to know what happened after The Fall. Did they drift apart slowly? Did it start before that? Did it happen all at once? Did he tell them he never wanted this? When did the people he once thought to be his friends start dragging him down to Hell for punishment? When did Lucifer begin to terrify him? When did Beelzebub? Were Hastur and Ligur a part of that group? When did they decide he wasn’t worth trusting? When did he start to dread the next time they would meet? Did the loneliness set in gradually or did he realize with a start that he was all alone?

The more I think about the differences between the Crowley that we know and the Angel we met in the season 2 opener, the more tragic it becomes. They used to be his friends.

#good omens #good omens season 2 #ineffable fandom #good omens s2 #ineffable husbands #good omens spoilers #anthony j crowley #pre fall crowley #angel crowley #aj crowley #good omens analysis

[microclown]

Been thinking more about this scene because like..

It's clearly an "Oh" moment

But how tf am I supposed to believe that Crowley, who we all know has been feeling love for Aziraphale since the garden of Eden And has spent thousands of years living amongst humans, engaging in their customs, watching their movies, listening to their music never identified "oh! this feeling is kind of similar to human love"

But like... it would be so Crowley to just think it was a singular experience. To just be so swept up in the enormity of his emotions, and to believe he is the only being that's ever felt this way. Why would he ever think to link it to it to humanity? it probably feels much bigger than that, humans could never understand. and if this feeling truly started on the wall in Eden, he wouldn't have had the human context to frame it with yet anyway It's not until Nina reframes it for him that he's like "oh, shit"

"It was just love this whole time"

#good omens #good omens 2 #ineffable husbands #aziraphale x crowley #crowley x arizaphale #good omens season 2 #go 2 #crowley #aziraphale #good omens 2x05 #good omens analysis

[siriusly-the-best-bi]

guys the kiss was so important especially from a narrative and storytelling perspective because it was literally Crowley taking everything that's happened between them, every unsaid intention and every unspoken promise, and making it physical.

He's taking their arrangement and every other bullshit excuse they've ever used to hide how they feel about each other and throwing them out the window to put their feelings into an undeniable physical action that holds a lot of meaning to humans in order to be absolutely sure that Aziraphale knows exactly what he means when he says "we could have been Us." He wants to be absolutely sure that there are no misunderstandings between them and know that Azirphale will be committing to this decision with absolute reassurance that he's been understood and rejected anyway.

he's taking a human action with so much meaning and so much importance, and he's using it as a way to desperately make Aziraphale completely and undeniably aware of what he's stating. No more charades and no more lies or cover-ups. There's no denying this thing between them now, and Crowley did it the human way. Because he and Aziraphale love humanity and it's everything to them in their own ways.

There's a reason we saw a kiss between Crowley and Aziraphale, and not Gabriel and Beelzebub, despite them both being undeniable foils.

and really if you just think about that isn't it so god damned beautiful?

#im crying and throwing up #like please tell me u guys get what im saying #and im not just spouting bullshit #like literally i swear this is something i hope i articulated it well enough #like its so SYMBOLIC #it makes my fucking little brain do jumping jacks of joy #bi.f.shit #good omens #good omens 2 #good omens 2 spoilers #gos2 spoilers #crowley #aziraphale #ineffable divorcées #ineffable husbands #gos2ep6 spoilers #good omens analysis

[melbatron5000]

Oh, God

"Blasphemy, Angel? That's not like you."

"No, I mean, MY GOD!"

DO NOT ASK NEIL ABOUT ANY OF MY THEORIES!! K thanks bye

At the start of Crowley's speech in the Final Fifteen, he starts off with "Oh, God." An odd thing for a demon to say, especially when we know he kind of chokes over saying "For Heaven's sake."

Everything is reading very differently now that I know that A. the entire Final Fifteen is emergency improv, and B. Maggie is Jesus and Crowley and Aziraphale have been trying to protect/hide her to prevent the second end of the world.

Aziraphale comes in and tells Crowley that the Metatron suspects something and is making threats, but if they both go to Heaven, they can be safe and allay those suspicions.

But Crowley knows that if they both go, there will be no one to keep an eye on Maggie.

Crowley says, "Oh, God," because that's what this conversation is about! He has to stay on Earth to watch Maggie, who is Jesus, who is God incarnate on Earth. The only way for him to stay on earth, if the issue is that the Metatron knows about Aziraphale and Crowley's relationship, is if they break up.

Aziraphale does not want to fake break up. He wants Crowley to be safe with him, he thinks Maggie will be okay. Saraqael is in on everything, after all. But as they talk, he realizes that Crowley's right. Someone has to stay behind to watch Maggie, or the whole world could end. And Crowley will have a lot more freedom to move around without suspicion than Saraqael would. Aziraphale doesn't like it, but it's true. And since the Metatron is basically forcing Aziraphale to go and offering that Crowley come with, Crowley has to be the one to stay. And "No thank you" is not an option. The Metatron wants them both in Heaven where he can keep an eye on them, or broken up and separated. Their relationship is the big issue, so they have to seem to break it off.

Everything is clicking into place so fast right now. I don't even know if I can write fast enough to keep up with all my thoughts.

#good omens #good omens 2 #crowley #good omens meta #aziraphale #ineffable husbands #aziracrow #good omens analysis #good omens fan theory #ineffable mystery #ineffable divorce #the final fifteen #final fifteen #oh god

[byleranalysis]

Both the opening scene and “Every” share a small theme/musical melody that creates a deep emotion context to the pairs inner feelings.

Listen below to how the notes ascend and descend:

Pre-Fall Crowley’s still has an angelic choir, a holy radiance and innocence we haven’t heard associated with him before. The theme sweeps into a bright major as he laughs at the joy of his hard work and the birth of something bright and new.

However, Crowley making a nebula fills him with the same joy as a kiss with Aziraphale. The melody plays in dramatic strings that cry out with a smaller choir which slowly drags away. A melodic interpretation of the fallen angel. Yet, the music falls to minor after the initial hope of the kiss. Sadder. Slowly falling apart.

This isn’t a birth of something new like his joyful nebula, but potentially a loss.

In conclusion: Season 2 is actively slowly killing me. David Arnold went insane this season.

More GO Analyses:

- The Metatron is a Parallel to Original Sin/the Serpent of Eden

#good omens spoilers #good omens #good omens s2 #good omens 2 #crowley x aziraphale #aziracrow #good omens analysis #good omens 2 analysis #GO 2 #pre fall crowley #every #music analysis

[youryurigoddess]

Imagine the amount of Good Omens relationship drama that could have been avoided with Aziraphale conducting one simple Google search and finding undeniable proof that Crowley is interested in him.

Crowley rubs his chin while watching Aziraphale, walks in a suspiciously undulating way, circles around his angel protectively, pushes and nudges him.

The biting part though? Remains to be seen.

#snake courtship behavior #silly snake #snake crowley #crowley is a simp #aziraphale is oblivious #ineffable husbands #aziraphale #good omens #good omens analysis #good omens meta #lazyday #yuri is doing her thing

[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

[bwlkins]

Together?

Aziraphale's desire to be together is so strong it hurts

#good omens #crowley #aziraphale #good omens 2 #ineffable husbands #aziraphale x crowley #ineffable partners #ineffable idiots #ineffable spouses #good omens parallels #aziracrow #aziraphale loves crowley #the final fifteen #final fifteen #good omens analysis