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sonkitty · 10 hours

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Crowley S2 Hair Post #21

(For reference: The Sideburns Scheme)

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

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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.

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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.

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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.

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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.

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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."

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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 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.

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

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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.

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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.

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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:

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

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Main post:

The Sideburns Scheme

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

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melbatron5000 · 15 hours

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A list of my theories

Because I'm starting to write a lot of them and I need a place to keep them all.

The Final Fifteen:

It's a Two-Man Con

The Evidence Stacks Up

More Evidence

For the record

The Big Damn Kiss

AAAUUUGH

Oh, God

The Metatron

Ineffable Mystery:

My murder board 2.0

Maggie Mirror

Things that can be explained by POV switches

Wild theory, hold on

We never go to the pub

If jacket lapels are wings . . .

Maggie, Maggie

The confines of a story

Minisodes:

Minisode connections

More minisode connections

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havemyheartaziraphale · 1 day

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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 theories #good omens 2 #mystery magic man #am i going mad?#crackpot? maybeeeee

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somehow-a-human · 16 days

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DO NOT ASK NEIL ABOUT FAN THEORY

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.

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pridescrolling · 8 days

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PLEASE DO NOT TAG OR SEND TO NEIL GAIMAN

I made you a gift!

It's a cheesy bumpersticker style nudge to STOP SENDING NEIL GAIMAN

- fan therories about season 2/3

- your own theories about season 2/3

- other people's theories about season 2/3 (ESPECIALLY WITHOUT PERMISSION)

- your wants for season three

- things you don't want for season three (other people might want that!)

- YOUR FAN FICTIONS OR FAN ART

He has repeatedly asked not to bring these things to him. And even though his answers can be funny it can get him into legal trouble if what ends up in the show is similar to fan art/fics/creations

Please! Stop!

Bonus

Feel free to spread these around I'm so tired of the second hand embarrassment

#1k notes #wow thanks!#good omens #good omens asks #NG #good omens theories #good omens theory #crowley #aardvark

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stillsurfacequietpond · 2 months

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Why Aziraphale really calls Crowley:

#totally correct good omens scene #sorry couldn't resist trying this #they just want a date!#ineffable husbands #good omens #good omens 2 #good omens theories #aziraphale loves crowley #crowley loves aziraphale

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andsomemaniacgotridofthewheel · 3 days

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Dear Good Omens fandom friends,

can we please agree to keep our sand in our sandbox?

We have a great sandbox. It's big and full of people building castles and villages and roads and stuff. Some of that is big and complicated and detail-oriented, some of it is strange and weird and funny, some if it is off-the-rails in any and all senses of the word. All of it is lovely. Some of it tries to rebuild Neil Gaiman's sandcastle as faithful as possible, either to build onto it or to try and find out where the secret rooms might be hidden. Some of it looks a lot like his but has its own little turrets and courtyards and gardens added everywhere. Some of it looks completely different and doesn't try to hide it. Some of it isn't even meant to be taken seriously and just exists to make people laugh. But there is so much of it that everybody can find something for themselves; and if we don't we just find a free space and start shifting sand ourselves.

Neil Gaiman has his own sandbox. He has built something brilliant and beautiful in it, and he is currently busy building another storey onto it. He doesn't want anybody to see the new part before it is finished, and I know that sometimes the excitement of finally wanting to see it is hard to bear.

But that is why we have our sandbox. To make our own stuff until he reveals the rest of that sandcastle we all love so much. To pass the time, to have fun with it, to meet new people and find more brilliant little sandcastles. Never again will there be as much creativity, as much activity, as many people around in this sandbox than there is now, in the time before the last bit of his castle is revealed. I am sure most of us will be delighted and surprised at what he will have created. Some will be disappointed because they were expecting his sandcastle to look different, some will be disappointed because they saw a castle in our sandbox they liked much more, but most will be delighted because after all we came up with he will still have managed to surprise us.

Our sandbox. His sandbox.

The two are separated for a reason.

Because if you keep throwing sand into his box to get his attention, or keep trying to get a good look at what he is doing over there, or keep yelling at him to look over to ours and tell you which one looks like the one he is trying to make, or which one is the best, or how stupid one of the others looks (last one would also make you a dick), you are quite simply risking the new part of his sandcastle to collapse. Or for him to have to remake it in a way he didn't plan to, or simply dislikes, or that we will all dislike.

And just because he is glad we are enjoying ourselves and proud that his work inspired us to create all these things, doesn't mean he wants to see (all of) it. Some things he definitely wouldn't want to see; other things the creators definitely don't want him to see.

I'm proud of our sandbox. It's huge. It's brilliant. It's creative. It's collaborative. And it's ours.

Have fun in it. But keep it apart from his. Keep out of his. And keep him out of ours. Stop trying to drag him over. He has stuff to do. Important stuff. Stuff I, for one, am waiting very impatiently for.

And he will never show us the parts of the castle that aren't finished yet, no matter how often you ask. And just because he is making an effort to be funny about it doesn't mean we aren't annoying him when we keep asking.

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somebebop · 2 months

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The something’s wrong voice

PLEASE DO NOT ASK NEIL ABOUT FAN THEORIES!

I've just realised how similar these two little scenes are.

This, literally the first words Aziraphale says to Crowley:

-Hello, it's me. Don't say anything. Are you there? -Should I say something now? -No. Meet me over the road from the bookshop.

and this, from their last conversation:

-What's that lovely human expression? Oh, yes. Hold that thought!

And we all remember how the first scene was immediately followed by this acknowledgement:

So, if Crowley knew something was wrong from Aziraphale's voice over the phone right in the middle of their precious, peaceful, fragile existence, wouldn't it be more than obvious to him in the final 15, right before their devastating exchange started. The difference being, of course, that this time Aziraphale literally couldn't tell him: he almost immediately started to stutter. It continues like this:

-I have some incredibly good news to give you. -Really? -I, um... So, uh, um.. The Metatron! <there is a pause and he continues>

And this 'Really?' is almost 'You're really trying to convince me it's good with your Something's Wrong voice?'. Which makes me certain that Crowley knew Aziraphale was in trouble and didn't believe Aziraphale was sincere about any of the 'Heaven is good' stuff. Which also doesn't mean that he agreed with his choice, of course.

What's important for me here is a clever and thoughtful Crowley, not just a heartbroken Crowley. Look at him right there, listening and watching Aziraphale with such attention:

I don't believe he missed any hints. I'm sure he'll put 2 and 2 together pretty quickly. This actually makes two clever supernatural beings working on a PLAN in s3. The only problem is they aren't talking.

#good omens #good omens 2 #aziraphale #crowley #good omens theories #good omens meta #ineffable husbands #the final fifteen #good omens 3

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lineffability · 9 months

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sth i crave for s3 is aziraphale taking a stand against the metatron (who i do believe will be the main antagonist) and tell him to his face,,,,, idk sth along these lines i guess--- something dramatic like "You are not God." and everybody losing their shit and it's as if time has frozen and crowley stares at his angel both terrified (for him) and proud (of him). and he says "You are not God and you do not speak for Her. Do you?" and he is brave and sure and piercing in a way he rarely shows ( he is angry)

"For six thousand years She has not spoken to me. For six thousand years I thought it was because of me. I gave away my sword. I disobeyed Heaven. I-- I love a demon [cue crowley having an inner breakdown, bonus points if he hears this for the first time] and-and I thought I deserved not being spoken to. But she has not spoken to you either, has she. Am I not right? She has not spoken to anybody all this time, and nobody knew. And you-- you not only covered it up, you swept into the void She left as if it was your right. You do not speak for God, and I am not listening anymore. "

and then the power of love saves the fucking day and they ride off into the south down sunset together idgaf idc I LOVE THEM i need sth like that i need (sotfly) badass and assured and enlightened aziraphale pl e a s e

#good omens #ineffable husbands #good omens theories #crowley x aziraphale #my omens #im dreaming again but #BUT #thsi does not seem completely out o reach does it???

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caterhoades1971 · 3 days

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15 hours in

#good omens 2 #no nightingales #aziraley #good omens aziraphale #michael sheen #good omens crowley #david tennant #go season 2 #aziraphale fanart #good omens theories

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queenofthearchipelago · 8 months

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I know everyone's saying that come season 3 we'll have a kiss in 1941, but I'm still on the side of them having an almost kiss in 1941. It's probably because I love pain but imagine them after they get rid of the Nazi zombies for good, saving each other's lives in the process, they're in the bookshop talking as they usually do. Imagine the hour growing late, Crowley standing from his place on the couch to leave. Aziraphale walks him to the door, and there's just this moment that passes between them. Crowley's hand on the doorknob, and they aren't saying anything, but this time, they don't have to. I don't want to leave but I have to. Thank you for saving my life. I'm so relieved I was able to save yours. If anything happened to you, I'd... and they're just right there. So close. The last time an angel and a demon were this close to each other, it was in battle. But not here, not in this bookshop. Not with this angel and this demon. There's something else here. One day, when they have the freedom to allow themselves the thought, they'll call it love. But today... Aziraphale steps away.

"Why not?" Crowley whispers.

Aziraphale shakes his head at the ground, before looking back up into the curious, desperate, beautiful yellow eyes hidden behind Crowley's glasses.

"I can't," Aziraphale whispers back, something desperate painting itself deep in his eyes.

Crowley nods, reaching behind him for his hat hanging on the hat stand and placing it low on his head. Turning the doorknob, he gives Aziraphale a small bow and leaves.

It won't be until 1967 that Aziraphale finally finds the strength and the words to truly answer Crowley's question.

"You go too fast for me, Crowley."

#please tell me I'm not the only one hoping for this #good omens #good omens theories #ineffable husbands #good omens fanfic #I guess it's a small little something #thoughtsfromthequeen #good omens 1941

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sonkitty · 2 days

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Crowley S2 Hair Post #20

(For reference: The Sideburns Scheme)

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

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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.

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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.

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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.

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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.

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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.

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

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

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Main post:

The Sideburns Scheme

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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.

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azfell-ajcrowley · 2 months

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Something we didn't notice (part 2)

part 1

Overall, the meta is based on close observation of Aziraphale (for the most part) and Crowley. Without speculation or trying to guess what we haven't been shown (well, almost).

The Metatron makes it clear that he is watching Aziraphale delivering the "good news". Aziraphale looks back at him.

The first thing I'd like to explain. The Metatron is talking to Muriel, and then he stares at the window of the bookshop duplicating that gaze toward Crowley. The frame changes and we see Aziraphale looking out the same window, just for a second, but he will do it repeatedly.

As Crowley starts his monologue, Aziraphale tries to stop him by gesturing for him not to say too much, while looking out the window himself. Aziraphale continues to turn to the window with every meaningful attempt to speak.

Let's also note that Aziraphale doesn't usually behave in a similar way in conversations with Crowley. Yes, Aziraphale is characterised by active gesticulation, but the constant pauses, averting his eyes from the interlocutor, nervous and jerky movements - these are messengers that angel is holding something back, hiding or simply doesn't want to tell. Most often we see this Aziraphale in conversations with the leadership - God and Archangels.

https://commonmexicanname.tumblr.com/post/734305363759890432/good-omens-thoughts

Here's a prime example, comparing his interaction with Archangels when he's caught off guard and frantically trying to figure out how to get out of the situation.

I don't think Aziraphale is just lying to Crowley here, no. He just has an audience beyond Crowley. He tries to tell everything, knowing he has more than one viewer.

When Aziraphale mentions the Metatron, he is not just hinting, he points his index fingers - one at the window, another at Heaven, and then in a distinctly active quick motion once more at the WINDOW.

And again - turns his face to the window at the words about Gabriel failing, and then tilts his head towards the transparent panes of the bookshop.

The conversation with the Metatron is important, among other things, to assess Aziraphale's behaviour when Crowley is mentioned by his superiors. At the words about their partnership Aziraphale looks frightened: his facial muscles are tense, his forehead and eyebrows are furrowed, and there is a terror in his eyes.

When the God's spokesman concludes his really suspicious speech, Aziraphale swallows nervously and averts his eyes. He certainly doesn't look like someone who's been offered the fulfilment of his cherished dream. And not like someone who believes it.

Aziraphale looks like someone who has just found out what an enormous amount of incriminating information is in his opponent's possession.

"Tell me you said no. Tell me you said NO." Crowley is definitely shocked and horrified, he thinks the best of his angel. He can't believe what's going on (and he isn't supposed to).

Aziraphale turns his head towards the window again as an answer.

He actually said:

And

We see him right before he walks into the bookshop, he never says yes to the Metatron.

Aziraphale utters his most delusional words while looking out the window. Of course, they're not meant for Crowley. Aziraphale hasn't believed it for a long time, Crowley even more so.

And then Crowley says "Oh, God", without correcting himself afterwards, because this demon can only hope in God here.

For a second Aziraphale has a look of hope on his face that Crowley has realised what he's getting at. Then Aziraphale realises that Crowley is trying to confess. He's waited for so long not to realise. He was about to confess too.

Aziraphale already knows everything Crowley is about to tell him, but more importantly, literally everyone already knows it. It's impossible to stay and start pretending again that there's nothing between them.

Aziraphale has a completely blank stare past Crowley, and then he looks out the window. Again.

And then the most interesting thing happens. Crowley starts his line "And I would like to spend…" But he turns his head and finally looks out the window, where Aziraphale has been pointing so hard since the beginning of their conversation.

Maybe that's the reason Crowley doesn't complete the sentence. And he begins to pick up different words. Maybe not, maybe the sun from the outside is preventing him from seeing the Metatron.

In the final part of their conversation, when they move closer to the bookshop's door, Aziraphale looks towards the window again.

After "no nightingales" line he turns away to hide his feelings and pain.

The cherry on the cake is the kiss, Aziraphale is falling into the abyss. He averts his eyes trying to figure out if the Metatron could have seen what just happened.

When Crowley leaves, Aziraphale thinks he's lost him. But then, even when the Metatron walks in and says devaluing words about Crowley, Aziraphale can't tear himself away from the window, because now he can see Crowley there. Maybe not everything is lost.

Aziraphale retreats back to the clock - to the very spot where Crowley was standing a few minutes ago. He looks out the window at Crowley, as if to say, "I stand where you stood, you stand where the Metatron stood."

#aziraphale #crowley #good omens #good omens meta #ineffable husbands #final fifteen #good ineffable omens #good omens 2 #good omens analysis #good omens parallels #ineffable divorce #ineffable spouses #the final fifteen #the metatron #good omens finale #good omens theories #good omens thoughts #good omens theory #good omens clues

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queerfables · 9 months

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There's a story of questionable veracity about Harry Houdini performing an escape in which his wife passes him a key with a kiss.

I keep thinking about this story when I think about the kiss Crowley and Aziraphale share.

For me, it comes down to this: the fight between them is real. It has to be, because handwaving such an emotional scene as "for show" would be deeply unsatisfying. On top of that, it's consistent with the flawed beliefs that each of them carry. Crowley wants to run away to the stars, Aziraphale wants to Speak to the Manager about Heaven. There's no reason to think the scene is a lie, because if they were both telling the truth, that's what it would look like.

And yet. In a season that's all about misdirection and performance, I can't help but think there's something more going on. I haven't been fully convinced by any theory I've come across yet, including my own, but I do think there's an undeniable sense of waiting, of watching for the twist.

If the fight was real then where is the performance? Could the kiss have been real, and still misdirection? It's all an appeal, Crowley begging Aziraphale to stay, but maybe it's something else too. Maybe it's, stay, please stay, but if you won't, at least hold onto a way back to me. I'm not gonna pretend I know anything for sure. I just keep thinking about Houdini's wife kissing him, and slipping him a key.

As for what Crowley might have given Aziraphale, all I have is speculation. I've thought about this a lot and I can't come up with anything obvious placed earlier in the story that might help. But if I were going to guess? I'd say Crowley gave him the same thing he asked Aziraphale for back in 1862.

Insurance.

#good omens #good omens theories #aziracrow #good omens meta #fable talks good omens

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sylvestris123 · 7 months

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What does the pre-Fall scene actually mean?

I’ve been thinking about that first scene, with pre-Fall Crowley. We are all swooning over how sweet and innocent Angel!Crowley is, and how smitten Aziraphale is, but on reflection there is something odd about this scene.

The action takes place before the rebellion, before the Fall, when bad things hadn’t even been invented yet. So why is Aziraphale already worried about Angel!Crowley getting into trouble for asking questions? Shouldn’t he also be a cute innocent bundle of fluff without a care in the world?

There is a meta that examines this (sorry, I can’t find it, I’m useless at this), which comes to the conclusion that Aziraphale later on is suffering from guilt (that he might have unwittingly prompted Crowley to seek answers and hence fall), but this still doesn’t explain why Aziraphale knows that asking questions might be a Bad Idea, and Angel!Crowley doesn’t. After all, Angel!Crowley has apparently been working “very closely with Upstairs”. Shouldn’t he be a bit more clued up?

This leads me to think that there are 2 possible explanations for this.

1. Angel!Crowley has been so far out of things playing with stars that he really is clueless about everything (possible but doesn’t really match up to the Crowley that we know today).

2. This is not a true record of events.

Either: it is one of Aziraphale’s memories, but coloured by what he knows today, so the conversation that actually occurred might have been quite different. Maybe it is because of Aziraphale’s less than perfect recall, or maybe the memory was tweaked (e.g. by the Metatron) to emphasize the innocence of Angel!Crowley and the injustice of his later fall.

Or: IT NEVER EVEN HAPPENED AT ALL. Their true first meeting was as S1, on the walls of Eden, and it is all a false memory planted by the Metatron. (This could also explain why we don’t get to hear Angel!Crowley’s name. It’s not actually known, so can’t be added to the ‘memory’). Why would he do this? It could be to make Aziraphale think that Angel!Crowley was so full of joy that he should be reinstated to recapture that innocence.

There are plenty of theories about the other flashback episodes in the series, all of which could be interpreted as showing off Crowley’s 'good' side, to make the thought of his reinstatement as an angel more plausible or even necessary to right an ancient wrong.

If any or all of this is the Metatron’s doing, what is the motive? He clearly loathes Crowley. Maybe reinstatement as an angel would automatically wipe out his memories of being Crowley and all of his Earthly experience, so you would end up with a cute innocent (and ultimately useless) angel with no memories of his friendship with Aziraphale. Or perhaps it was a way to get him to come up to Heaven where he could be ambushed and imprisoned.

Or maybe the Metatron always knew that the very concept would go down like a lead balloon and that its aim was to make Aziraphale and Crowley part in such a way that they would be less likely to try to contact each other later.

There are so many pieces to this puzzle. Just when I think that a couple might go together I find others that don’t fit with the patterns already made, and which sometimes seem to belong to a different puzzle altogether. I’m sure that I already have 5 corner pieces.

#good omens #aziraphale #crowley #aziraphale x crowley #crowley x aziraphale #good omens 2 #neil gaiman #good omens analysis #good omens meta #before the fall #Why is Aziraphale aware of bad things before they were invented #angel crowley #too many questions #good omens theories

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