Foreshadowing, out of order?
In storytelling, is there a single word that means "the opposite of foreshadowing"?
WARNING: in trying to wrap my head around this, there will be wittering!!!
Wikipedia tells me that a flashback is a method of foreshadowing.
The Bullet Catch in the NZF minisode, being a flashback as well as told before the "present day" [speculated] event it sets up a clue for, well, that's what I've understood foreshadowing to mean until now, because isn't foreshadowing always presented before the event it foreshadows comes to pass?
The flashback/memory minisode, A Companion To Owls, is told after the "present day" event it foreshadows. Does that still count as foreshadowing, or is it instead considered "the big reveal" because it is told after?
And is this all that is meant by various things in Good Omens 2 being "out of order"?
The Hiding Miracle and the Memory That Both Foreshadows and Reveals It?
Indeed, it was a tiny miracle - as titled in the soundtrack - that worked as planned and "barely moved the dials" (but still a miracle in which "Noone will have noticed A Thing" however tiny it was, and that "Nobody notices he's here (...) Nobody can spot him, (...) especially if they're looking for him").
I believe it was the first of three events that happened that night, which, became the main focus of this "quiet, gentle, romantic" season, but paling in comparison to the other two events. Moving on!
Returning to how A Companion to Owls isn't told until after The Hiding Miracle and clues us in as to what was actually going on: this tiny miracle was made to appear far more powerful than it actually was, with the use of showmanship:
The ceremonious setup of being positioned on the circle in the middle of the room hidden under the carpet, between Aziraphale and Crowley; he could have been standing, but instead, "Jim... Sit in this chair." And it's a beautiful chair, like a throne, but Jim being taller wouldn't have worked for the image of the 'W' (similar to the 'W' shape made with Shadwell standing between Aziraphale and Crowley at the airbase, in the book Good Omens.)
ta-da!-look-at-this-very-complicated-and-powerful-miracle-that-we-are-doing
Why perform at all then, for an audience of none?
Ah, they're not alone, oooOoOoOOOoOoOooo, spooky. Go and see for yourself: check out the bottom left area of the screen when Crowley returns to the bookshop and says, "I'm BACK" (this is to do with the "framing opportunities" secret mentioned in the Gavin Finney BTS article https://britishcinematographer.co.uk/gavin-finney-bsc-good-omens-2/) Aziraphale calmly replies, "Yes, I can see that" and later gasps, reacting to something happening off-screen at 40m41s.
So this performance, not yet knowing who their audience might be, could be as a precaution, just in case.
Gabriel instinctively crosses his hands and is confused when Aziraphale and Crowley uncross them - or likely because Aziraphale was even standing there at all - because he remembers, or rather, in his mind's eye, sees the shape left behind by a missing piece of furniture.
The ceremonious setup of being positioned in the centre, between Sitis and Job, this time in the background to have Bildad appear a little shorter in height for the stylized 'W', then crossing his hands. The pot containing Sitis and Job's children being the circle, hidden by the circle of carpet (robes) made as Sitis and Job embrace.
ta-da!-look-at-this-very-complicated-and-powerful-miracle-that-we-are-doing
Had we seen Jim's and Crowley's conversation about memory before The Hiding Miracle instead of much later in episode 5, then it would have been foreshadowing, yes?
*temper rising* A "reveal," or "out-of-order foreshadowing"? (VBUAXNAUSX*keyboard smash*NYVIFGNOMAI) grrrrrr!
...
After the Job story is told, (save for the final scene) and Aziraphale calls for Crowley, my head-cannon used to be that Aziraphale wanted to talk about hair -
Aziraphale: Crowley, I gave you lovely long locks in my retelling of this story, how about you?
Crowley: Nah, "shoulder-length bouncy 'bob'" is what I put - a "Lob" I think is what they're calling it these days.
But now I think that, to book-end Crowley's beginning with, "Your boss said that to Job, do you remember?" (imo they are so good at blending in, they can act human better than any human can act human! So, while feigning the memory span&loss&retention of a human, of course they can remember most everything. Angel stock: constitution of an Ox, memory of an Elephant.) Aziraphale may have wanted to remark on Jim's crossed hands from the night before and how similar it was to Crowley's doing so; that it was evidence of Gabriel still somehow being able to connect with images from his memory. "Crowley? You also did that thing... does Gabriel remember?"
If each minisode contains something that foreshadows or reveals what magic tricks occurred during this season's present day events, I feel that the only thing left is from "The Resurrectionists" minisode, where Crowley Goes Large (woah, woah, woah, another case for The Song Is The Clue?!?) ... or makes himself, something or someone else tiny.
"Size and shape are simply options" after all, so I do wonder about Hell's Usher, where the only time we've seen him is when he is small enough to fit in a bathtub and yet he is HUGE in the opening title sequence of season one. Behind him, Noah's Ark stranded between two damaged buildings (or one damaged building and maybe the Pleasure Cruiser Morbillo?)
Something else that may be revealing of stories yet to be told of the past, while also foreshadowing a near-future event:
Based on what Crowley said, this is not the first time Crowley and Aziraphale have performed a half-miracle together! Whatever biiiig miracle they're about to do (speculated event #2) could still be completely balanced and undetected, but then a plume of miraculous activity emerging from the circle gateway (privately speculated event #3) is what poor Aziraphale will appear to take the blame for.
Things being out of order may have started with the question, are season two's present day events being told out of order? There are other things appearing out of order as well, for example a change in the order of colours in the Rainbow (for "present day" episode two only I think, beginning Violet then Red, etc.) Or, in this case, narrative devices being so intertwined, one flashback-event can contain images and phrases that both foreshadow something yet to happen as well as to reveal what happened in a part of the story already told.
As always, please no asking or tagging Mr Gaiman as this blog post contains theory and speculation, thank you.
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I feel like The Father and Hell both understand and experience love in all the worst ways.
The Father sought to create a life form that would follow and love him unconditionally. It wasn't enough that he had a great cosmic kingdom of angels who are unquestioningly loyal, no, he needed something that knew suffering and mortality and the threat of oblivion, and would still find love at the end; love for him above all else. But after numerous implied failures at that, in his desperation, he instead created the threat of eternal damnation to force them to love him in order avert that fate. Lucifer's words must have been like a splash of cold water, but by the time he realized sheer magnitude of suffering he had unintentionally set into motion, it was too late.
He could not destroy Hell; he could not stop the cycle of violence.
That guilt drove him to seek a death that, from the looks of it, eluded him in spite of the hollowness consuming him. And now he is... somewhere, helpless to stop his experiments from consuming one another and themselves in a glorious show of blood and violence.
And then there's Hell itself, who seems to recognize love as an act of violence and cruelty. It is something that derives joy only from the suffering of other living creatures. God gave it so many toys to hurt and break and reform, and Mankind gave it new ones. Why would it understand love as anything but? It gave Minos a facsimile of the son he is most ashamed of, and delighted when he cast it, once more, into a labyrinth. Gabriel flattened all the souls within it's confines beneath his heel and gave those that did bend false hopes.
Now there's V1, tearing its way through the remaining layers and creating a spectacle of violence like nothing Hell has ever witnessed before. How could it not love them all for all the entertainment they've provided?
But deep within its recesses, hidden away from the eyes of Heaven, there was a Gutterman. A machine built for war, who eventually came to love that which it gave it life at the cost of their own. Enough to give the human welded within their coffin the mercy that both Heaven and Hell had denied them; enough to write a single love letter to them, even knowing that it would never be read by its intended recipient.
So, as things turn out, you /can/ teach a machine to love. And they will understand and experience it more sincerely than God or Hell ever could.
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