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youryurigoddess · 5 months

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A nightingale sang in the London Blitz

When exactly was that certain night, the night Aziraphale and Crowley met — and spoke for the first time in 79 years in the midst of the London Blitz?

And what’s the deal with the nightingale’s song, really?

Grab something to drink and we’ll look for some Clues below.

The night they met

The Blitz, short for Blitzkrieg (literally: flash war) was a German aerial bombing campaign on British cities in the WW2, spanning between 7 September 1940 and 10 May 1941. The Luftwaffe attacks were carried out almost non stop, with great intensity meant to force a capitulation and similarly strong impact on British life and culture at the time.

Starting on 7 September 1940, London as the capital city was bombed for nearly 60 consecutive nights. More than one million London houses were destroyed or damaged, and more than 20,000 civilians were killed, half of the total victims of this campaign.

The night of 29 December 1940 saw the most ferocity, becoming what is now known as the Second Great Fire of London. The opening shot of the S2 1941 minisode is a direct reference to recordings of that event, with the miraculously saved St Paul’s Cathedral in the upper left corner.

The actual raid lasted between 06:15 and 09:45 PM, but its aftermath continued for days. The old and dense architecture of this particular part of the city turned into a flaming inferno larger than the Great Fire of 1666. Multiple buildings, including churches, were destroyed in just one night by over 100,000 bombs.

Incendiary bombs fell also on St Dunstan-in-the-East church that night, the real-life location of this scene as intended by Neil. It was gutted and again claimed by fire in one of the last air rides on 10 May, when the bomb destroyed the nave and roof and blew out the stained glass windows. The ruins survived to this day as a memorial park to the Blitz.

Such a delightfully Crowley thing to do: saving a bag of books with a demonic miracle adding to the biggest catastrophe for the publishing and book trade in years. 5 million volumes were lost, multiple bookshops and publishing houses destroyed in the December 29th raid alone.

Even without this context, judging by the seemingly unending night, overwhelming cold and darkness, broken heating at the theatre, and seasonal clothing (like Aziraphale and Crowley’s extremely nice winter coats), it’s rather clear that it was the very beginning of the year 1941.

Everything suggests that Aziraphale and Crowley’s Blitz reunion happened exactly 1900 years after their meeting in Rome — which, according to the script book, took place between 1 and 24 January 41 (Crowley was right: emperor Caligula was a mad tyrant and didn't need any additional tempting; there's a reason why he was murdered by his closest advisors, including members of his Praetorian Guard, on 24 January 41).

Interestingly, both events involved a role reversal in their otherwise stable dynamic, with Aziraphale spontaneously taking the lead instead of letting the demon be the one to do all the tempting and saving, and ended with a toast.

The S2 Easter Egg with the nuns of the Chattering Order of St Beryl playing table tennis at the theatre suggests that the Blitz meeting happened on a Tuesday afternoon, which doesn’t match any of the above mentioned days, but sets the in-universe date for 7 January 1941 or later.

The Chattering Order of Saint Beryl is under a vow to emulate Saint Beryl at all times, except on Tuesday afternoons, for half an hour, when the nuns are permitted to shut up, and, if they wish, to play table tennis.

The nightingale

January means one thing: absolutely no migratory birds in Europe yet. They’re blissfully wintering in the warm sun of Northern Africa at the time. But, ironically, when the real nightingales flew off, a certain song about them suddenly gained popularity in the West End of London.

It might be a shock, but A Nightingale Sang in Berkeley Square wasn’t a hit from the start — even though its creators, Eric Maschwitz and Manning Sherwin, were certainly established in their work at this point. The song was written in the then-small French fishing village of Le Lavandou shortly before the outbreak of the Second World War with first performance in the summer of 1939 in a local bar, where the melody was played on piano by the composer Manning Sherwin with the help of the resident saxophonist. Maschwitz sang his lyrics while holding a glass of wine, but nobody seemed impressed. It took time and a small miracle to change that.

Next year, the 23-year-old actress Judy Campbell had planned to perform a monologue of Dorothy Parker’s in the upcoming Eric Maschwitz revue „New Faces”. But somehow the script had been mislaid and, much to her horror, replaced with the song A Nightingale Sang in Berkeley Square. She had never professed to be a singer but even so, she gathered her courage and went out onto the moonlit set dressed in a white ball gown. Her heartfelt rendition of the now evocative ballad captured the audience’s imagination and catapulted her West End career to stardom.

It was precisely 11 April 1940 at the Comedy Theatre in Panton Street and the revue itself proved to be a great success — not only it kept playing two performances nightly through the Blitz, but also returned the next year. And the still operating Comedy Theatre is mere five minutes on foot from the Windmill Theatre, where Aziraphale performed in 1941, and not much longer from his bookshop.

Now, most Good Omens meta analyses focus on Vera Lynn’s version of the song from 5 June 1940, but it didn’t get much attention until autumn, specifically 15 November, when Glenn Miller and his orchestra published another recording. And Glenn Miller himself is a huge point of reference in Good Omens 2.

According to the official commentary the infamous credits scene is establishing Aziraphale and Crowley’s final resolve for the next season using the same narrative device The Glenn Miller Story (1954) does in its most crucial scene. It starts with the tune (and audio in general) totally flat, then adds a piano on one side, and gradually becomes fully multidimensional. The Good Omens credits not only emulate the same sound effect, but bring it to the visual side of the narrative by literally combining the individual perspectives of the two characters together. Even though they’re physically apart, their resolve — and love to each other — brings them even closer than before. Aziraphale smiles not because he’s being brainwashed, but because he knows exactly what to do next.

Some of you might have noticed that Tori Amos’s performance for Good Omens is actually a slightly shortened version of Miller’s recording — much less sorrowful than Vera Lynn’s full lyrics that include i.a. this bridge:

The dawn came stealing up

All gold and blue

To interrupt our rendez-vous

I still remember how you smiled and said

Was that a dream or was it true?

Which is a huge hint when it comes to what we can expect from the main romantic plot line in the Good Omens series. The original song introduces an element of the doubt — it seems like there was no nightingale at all, only the mirage woven by the singer clearly intoxicated with love, much like Aziraphale and Crowley for the length of the last six episodes. Crowley’s comment in the season finale might allude to that interpretation, stating that there are no nightingales — never have been. It was all a dream. But the version we’re working with here is short and sweet, and devoid of that doubt. In the Good Omens universe angels were actually dining at the Ritz, the streets were truly paved with stars (or will be shown as such in the next season), and a nightingale really sang in Berkeley Square, as the omniscient, omnipresent, and omnipotent narrator, God Herself, had shown us.

All in all, it’s not an accident that the “modern” swing ballad activating Aziraphale’s memory and opening the 1941 minisode is the Moonlight Serenade by Glenn Miller. It’s a track naturally associated with A Nightingale Sang in Berkeley Square when it comes to music style and the sentiment in the lyrics.

But why the sudden popularity? In the great uncertainty and hardship of the Blitz, A Nightingale Sang in Berkeley Square provided solace and escapism for listeners, offering a glimpse of hope and love amidst the darkness of war. It became a universal anthem of resilience and a reminder of the power of love transcending difficulties. By January 1941 the whole city knew this tune by heart, including a certain West End aficionado with a cabinet full of theatre programs in his bookshop. Thanks to Maggie’s grandmother, he most probably had a record at hand to play during his spontaneous wine night with Crowley. We can only suspect the details, but it was was mutually established as their song exactly at that time or soon afterwards. Pretty sure we will see a third installment of that minisode for many, many reasons, but especially because of this “several days in 1941” answer by Neil:

The Man Hunt

In 1941 A Nightingale Sang in Berkeley Square gained even more popularity as the romantic theme of the Fritz Lang’s newest film Man Hunt. The 1939 story by Geoffrey Household first appeared under the title “Rogue Male” as a serial in the Atlantic Monthly Magazine where it received widespread comment, soon becoming a world-wide phenomenon in novel form. Its premise criticizes Britain's pre-war policy of appeasement with Germany, ready to sacrifice its own innocent citizens to the tentative status quo. Sounds a bit like Heaven's politics, right?

Yes, I'm trying to make you watch old movies again — like all the other classics, Man Hunt (1941) is easily available on YouTube and other streaming websites.

The next part will include spoilers, so scroll down to the next picture if you prefer to avoid them.

The plot of the movie seems simple enough: the tall, dark, and handsome Alan Thorndike, who nearly assassinates Hitler, narrowly escapes Germany and back in London continues to evade the Nazi agents sent after him with the help of a young trench-clad “seamstress” named Jerry, bridging the class divide and becoming unlikely friends-partners-romantic interests. It doesn’t end well though.

Jerry's small London apartment serves as a hideout for Alan when he was being followed by Nazis, similarly to how Aziraphale's bookshop is a safe haven for both Crowley and Gabriel in S2. She helps the man navigate the streets and eventually out of London — by sacrificing herself and getting forcefully separated from him by a patrolling policeman. The last time they see each other, Alan watches Jerry look back at him yearningly and disappear in the fog, followed by the elderly officer.

Unfortunately in the next scene we learn that the latter is a Nazi collaborator and helps the agents apprehend Jerry in her own flat. Staying loyal to her love and uncooperative, she’s ultimately thrown out of a window to her death, but posthumously saves Alan once again — through the arrow-shaped hatpin he gifted her earlier that is presented to him as the evidence of her off-screen fate.

Long story short, thanks to Jerry’s sacrifice Alan not only survives, but is able to join the war that broke out in the meantime and go back to Germany, armed with a rifle and a final resolve to end what he started, no matter how long will it take. The justice will be served and the dictator will pay with his life for his sins.

I wouldn’t be myself without mentioning that the main villain has a Roman chariot statue similar to the one in Aziraphale’s bookshop, an antique sculpture of St Sebastian (well-known as the gayest Catholic Saint) foreshadowing his demise, and a chess set symbolizing the titular manhunt/game of tag with the protagonist.

Aziraphale’s song

Will Aziraphale sacrifice himself as well? Or has he already? If his coin magic trick can be any indicator, we should expect at least a shadow of a danger touching the angel’s wings soon.

Let’s sum up the 1941 events from Aziraphale’s perspective: the very first time they’ve interacted after almost a century, Crowley actively sabotaged his entire existence twice by stepping onto a holy ground and by being outed by agents of Hell, both on the very same night and both because of his undying dedication to the angel. That’s enough of a reason not only for performing an apology dance, but also maintaining a careful distance for Crowley’s sake for the next 26 years. Only when he heard that his idiot was planning to rob a church, he gave up since he “can't have him risking his life”.

That’s when Crowley, sitting in a car parked right under his bookshop, offered him a ride. It wasn’t even subtle anymore. It was supposed to be a date, this time both of them understood it. But Aziraphale wouldn’t risk Crowley’s safety for his own happiness, especially not when he can name his feelings towards him and knows that they are reciprocated — the biggest lesson he learnt back in 1941.

So he did what he’s best at, he cut Crowley off again, but this time with a promise of catching up to his speed at some point. Buddy Holly’s Everyday, which was originally planned to play afterwards instead of the Good Omens theme, adds additional context here:

No, thank you. Oh, don’t look so disappointed. Perhaps one day we could... I don't know… Go for a picnic. Dine at the Ritz.

Aziraphale, carefully looking around and feeling observed through the whole conversation in the Bentley, consciously used the “Dine at the Ritz” line from A Nightingale Sang in Berkeley Square, from their song, as a code only the two of them understand. Not as a suggestion to go out for a meal, but a promise. A hope for the privilege of being openly in love and together — maybe someday, not now, when it’s too dangerous — even if it leads to a bad ending.

Fast forward to 2023 when for one dreadful moment Crowley’s “No nightingales” robbed Aziraphale even of that semblance of hope. He looked away, unable to stop his tears anymore. Only their kiss helped him pull himself together and make sure that a nightingale did sing the last time he turned — just like in their song — this time without a smile, as a goodbye.

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somehow-a-human · 2 months

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Whose POV is it Anyway?

1941

DO NOT ASK NEIL ABOUT FAN THEORY

Alright you lot! I wanted to post this days ago but it proved to be a more difficult bit of writing than I was expecting! I'm not sure why but I just had a tough time finishing this one. The other POV posts I've done have been pretty straightforward, but this one was a little tricky.

As always, for reference & context, I recommend reading these previous posts:

Whose POV is it Anyway? - Introduction

Lens Filters

POV "Your 'Something's Wrong' Voice"

POV a Trip to Hell and a 25 Lazarii Miracle

POV a Companion to Owls

POV The Dirty Donkey & I think I Found a *Clue*!

POV Bodysnatchers & Cosplaying a bookseller

Let's take a trip to Soho during the Blitz....

We open Episode 4 with Aziraphale driving back from Edinburgh in the very late hours of the night or early hours of the morning. Shax stops him and gets herself into the Bentley. The lighting is cool and misty and since we're dealing with Shax, my guess is we're looking at Hell's Black Pro Mist filter (BPM). Shax reminds Aziraphale of 1941 by mentioning Furfur, and we're drawn into the 1941 minisode.

SO enter 1941... we're in the church, and the bomb has just exploded.

I went back and decided to watch this opening scene from both season 1 and season 2 side by side to see if there were any noticable differences and the HUGE one is the difference in the color grading of this scene between seasons. It's the same footage, though season two's is spliced with bits of nazi's dying, but the footage in season two is so much more green than it was in season one. Take a look at these screenshots, season 1 on the left and season 2 on the right.

These are unedited, same computer screen and everything, season 2 is just so green. We know green is associated with Hell, so I'd posit a guess we're getting the green from the nazi's (Hell's) POV being added in here. We're shown they're still alive for a few moments of this scene. Crowley's sideburns are short in this scene but it is reused footage from season 1 so I'd just disregard it.

Then we move on to the drive home from the bombing, Crowley's sideburns are still on the shorter side, which according to our previous theories would indicate we're likely to be matched with Crowley's POV. However I'm sure you'll agree deciphering a filter from this scene is very difficult, given they are driving through a bombing sequence. We are supported though by the demons snippy tone toward Aziraphale, something we've previously observed him don when in his POV filter with the accompanying short sideburn/hair length. Ex: switch inside the coffee shop & switch outside the pub.

They pull up to the Windmill Theater, there are lovely glowy warm halos around the marquee lights, so I'd say we're looking at Aziraphale's POV now, or the Bronze Glimmerglass (BGG) filter. Crowley's sideburns are also long here, which would fit the narrative that these are connected. Inside the theater the coloring is still warm toned. Inside the bookshop, the lighting remains warm and likely the BGG filter as well.

When we cut to outside shots of the bookshop we see that the lighting outside is again extremely green, reminding us that the agents of Hell are lurking.

We move into the magic shop and I believe we're still in the BGG filter & Aziraphale's POV, evidenced by the fact that after Crowley and Aziraphale leave the magic shop, and the zombies enter, the warm hue disappears as the magic shop owner is attacked.

Cue the magic show. The lighting of what we're shown on stage is warm and hazy and likely still the BGG filter.

In the backroom of the theater Crowley's sideburns remain long and the lighting is hazy and warm, I think we're seeing Aziraphale's POV here as well.

In the backroom of the bookshop however, when Crowley and Aziraphale enjoy their wine together, Crowley's sideburns are short again, and he tells Aziraphale he's terrible at magic. He's being snippy which indicates Crowley's the narrator, but the lighting is still warm.

I'm reminded here of Finney's characterization of the different filters from the VFX article. He specifically described the Black Diffusion FX Filter as "Crowley's Present Day Storyline". Does this mean there isn't a filter change for Crowley as a narrator in flashbacks? The filter is definitely helpful for deciphering who's our narrator in present day but maybe that's why Crowley's hair also seems to be correlated with the POV? Because it isn't a hard and fast rule?

Aziraphale arrives home from the trip, and when Crowley brings his plants out of the bookshop, his sideburns are still long.

NEXT POV The Ball

#good omens #good omens 2 #good omens meta #michael sheen #crowley #aziraphale #david tennant #crowley x aziraphale #good omens theories #good omens clues #good omens theory #good omens mystery #ineffable mystery #ineffable divorce #ineffable spouses #ineffable idiots #ineffable husbands #ineffable fandom

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drconstellation · 7 months

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Once and Future Royalty

Just, stay with me on this one. I know its going to look crazy at the start, but trust me, I know where I'm going.

It all started with the 537AD scene in Wessex in the opening montage of "Hard Times," S1E3. Yeah, the one where Aziraphale is supposed to be a knight of the Round Table and Crowley is role-playing the Black Knight, and they are both so super-squeaky shiny clean - not a speck of dirt or mud on them. wtf! It looks out of place, unrealistic, and was bugging the crap out of me, like a stone in your shoe. It just didn't fit. I mean, why put a myth, a legend, into that sequence? Oh, OK, yeah, the preceding stories from the Bible, like the Garden of Eden and the Flood, aren't "myths" as well, you say? Hmm. In the context of the Good Omens AU, being a biblical based story, they belong there far more than the legend of King Arthur.

King Arthur, who supposedly united Britain under his rule during the late 5th century and early 6th century, was shown to have the divine right to rule by wielding the mighty sword Excalibur. Some stories tell of Arthur pulling Excalibur from a stone. Some tell of him receiving Excalibur from the Lady of the Lake. Either way, it was bestowed upon him by divine grace. Despite his triumph in battle, he left no heirs, as his queen, the fair Guinevere, was barren. She had a long-running love affair with the greatest knight of the court, Sir Lancelot, but despite this being an open secret in court Arthur would not put her aside. The knights of the Round Table in the court of Camelot were near-paragons of Christian virtue, and there are many tales of their search for the Holy Grail, the cup from the Last Supper of Jesus Christ.

In the end, mortally wounded in battle, Arthur was taken away for healing, and never seen again. It was said he would return when Britain was at it most direst hour to save the day once more. A "messianic" return.

The Once and Future King.

Now, I'm no Arthurian novice; I drank up all of T. H. White as a teenager, read the Dark is Rising multiple times, Marion Zimmer Bradley's interpretation and what ever else I could lay my hands on for a good couple of decades. And there is LOTS of King Arthur stuff around. You are not left wanting for anything new to read or consume. And I'll bet there are a fair few of you also out there who know a quite bit about the legend as well. Oh, and I can't tell you how many times I have watched Monty Python and the Holy Grail. I still walk around quoting it day-to-day, like the good little Gen-Xer I am, having grown up on that stuff. So I really should have listened to my intuition when bits of Monty Python kept popping up in my brain in response to other parts of GO I was thinking about. (Staaay, I said, stay with me here....)

I kept chewing away furiously on the Wessex problem, growling in feral frustration at it, but also kept reading and sorting out some other ideas and metas at the same time. Eventually I found the key in a tiny little post, about a small detail in the 1941 Blitz episode S2E4, of all places. I wanted to slap myself with how much was staring me in the face so obviously once the door opened. And the damn beauty of it is, that I already written about some it, out of context, without knowing the why.

OK. Where to start this journey...hmmm, back to Monty Python, because, guess what - the Wessex scene is actually riffing off one the more famous skits out the the Holy Grail. The scene is a masterpiece of political satire, from start to finish, but the relevant part here is this sequence:

In case you missed the salient points: Arthur claims he is king by divine providence, because he was given Excalibur by the Lady of the Lake. Dennis the peasant protests this waterlogged method of determination, mentioning ponds, watery tarts and a moistened... well, I hope you get the idea about where this is going.

Meanwhile, in 537AD, Wessex, as the mist swirls around them:

"It is a bit damp," complains a shiny silver Aziraphale.

Yes, Excalibur would be a bit damp after it emerged from the Lake. (vidavalor! Get your mind out of the gutter! I'm trying to have a serious discussion here! Please! And I wasn't even going to go anywhere near what the sword in the stone is really meant to be referring to...it's not even relevant to the discussion at hand, I swear! Well, there is going to be sexual relations mentioned but - oh, never mind...)

Right. Where were we. Lets leave those super-clean elite pretendy knights to swim off through the swirling mist back to their dry homes to write and file reports to head office, along with Patsy and the hired Igors, and Dennis can keep playing in his lovely muddy filth after he finishes protesting being repressed by the divinely-deluded Arthur. I've got a bit more to say about what Aziraphale and Crowley might represent here later but you need some more context first, so lets move on. I just needed to show you the first bit so you can see the Arthurian theme stretches across both S1 and S2, and will likely appear in S3 as well. More about that towards the end.

Ah, before I forget...another ref from the Holy Grail we need to cover:

This GIF, unfortunately, doesn't have the full exchange between the peasants, which is this:

P1: "Who's that then?" P2: "I don't know. Must be a king." P1: "How can you tell?" P2: "Because he doesn't have any shit on him."

Ah. Er. OH!

Have you made the connection?

Who have I been emphasizing as being unusually clean in their Arthurian setting? That's right, Aziraphale and Crowley.

What's this implying? That they are royalty. Celestial royalty. Maybe not kings, but how about princes? You know how we've been discussing whether Crowley was a once at least an Archangel, and there is even a hint that he was a fallen prince of Heaven given during the replay of Gabriel's trial? (Not the prince, but a prince - a seraphim) And that Aziraphale may have once been Raphael, and may be again in the future? Once and future royalty. To me it adds weight to the past discussion, and helps to explain the assumed authority expressed in these two scenes here: On the left, Aziraphale takes control inside the book shop as the angels and demons argue who is going to punish Gabriel and Beelzebub (finally found it after several months!) and on the right, Crowley is shouting at the assembling demons in the street that they are "out of order."

Onward, Patsy. (I hope you're still with me.)

1941, the Blitz part 2, minisode.

We've found Excalibur! On to Camelot!

[Edit note: I've added a few GIFs and screen shots into the sequence of parallels above because I was thinking over a few things since I posted and felt this actually sat better. To try and explain, as they don't exactly match as I would like, in the Holy Grail movie, King Arthur and the knights he has gathered rock up at the foot of Camelot and gaze up in awe at it. "Camelot!" Arthur declares to the party. "Camelot!" Galahad echoes in excitement. And a third "Camelot!" comes from Lancelot. What do we get in GO? Aziraphale leaps out of the Bentley (Crowley's black horse) and declares "The theater! Sophocles! Shakespeare!" I swear, if you put the two side by side, they would match. It's not just a reminder of how much time Aziraphale has seen pass by, or that we are seeing a tragedy play out. But damn it, I could so just see Aziraphale attending a Sophocles performance in Athens back in the day...]

Camelot was King Arthur's castle and home of his court. In S2 of GO the Windmill Theater is established as our court of Camelot where our 1941 Blitz-era Arthurian drama is to play out, involving Furfur and the zombies.

Yes, poor old Furfur. Two's company, three's a crowd, as they say. Now we know we're in Camelot, we need to be reminded of the central tragedy of the Arthurian story, that ultimately led to the golden kingdom's fall. Lady Guinevere, Arthur's queen, famously loved Sir Lancelot, and the two were passionate lovers. It was essentially a love-triangle at the top, with Arthur being jilted, but he wouldn't/couldn't discard his queen. Where do we see this playing out in 1941?

Furfur, pleased with himself for catching an angel and a demon in the act of consorting together (with the help of the zombies,) barges into the backstage dressing room, and confronts the lovers with their crime. But who is playing who in the Arthurian love triangle? I would say Furfur is clearly caught in the role of Arthur here. Consider the following exchange:

FURFUR: Hmm, well, well, well… What have we here? AZIRAPHALE: Sorry, have we met? FURFUR: Oh, no, you never had the pleasure, but… we have, haven't we? CROWLEY: Have we? FURFUR: What do you mean "have we?" You know we have. We were in the same legion. Just before the Fall. Doing dubious battle on the plains of Heaven. Remember? CROWLEY: I remember going into battle, I don't remember being there with you. Sorry. FURFUR: I was right next to you. We did loads together. You use to jump on me back, little monkey in the waistcoat. Anyway, whether you do or whether you don't, it doesn't matter. I'm here to inform you, as a representative of the Higher Powers of Hell, that you, Crowley, are in breach of the Infernal Code. Consulting and collaborating with an angel, Fell the Marvelous, aka… [opens book] Azirapalala. Azirapapap. Aziphapalala. AZIRAPHALE: [annoyed] Aziraphale

Furfur claims a past intimate relationship with Crowley, which Crowley spurns offhandedly. Crowley is playing Guinevere here, jilting Furfur/Arthur, which leaves the demon-smiting Aziraphale standing in for the handsome hero Lancelot (with his French connections, no less), and doesn't he make us weak at the knees when he drops his voice an octave in dominating disgust. (Is it suddenly getting hot in here...? Phew!)

Interestingly, looking back in S1 at 537AD Wessex, though, I would say that Crowley was Lancelot as the Black Knight, a role that Lancelot sometimes played in the legends, and Aziraphale would then be the fair maiden Guinevere. It certainly plays into Crowley's long term role of playing the knight who comes to the rescue of Aziraphale's princess in distress. Excalibur was no where in sight, perhaps still beneath the waters of the lake. Nor Arthur. Perhaps it was still too early in the story then...

I had originally suggested in my very first post that Furfur was given a stag as his demon avatar because he was wearing horns for being cuckolded by Crowley. But I wasn't quite thinking about it in context with the Arthurian legend! The stag is also often associated with royalty, plus while wandering around the medieval bestiary website that someone linked to, it interestingly notes that the enemy of the snake is the stag and the stork (Shax's avatar.) Ah ha!

So how can we extrapolate this knowledge into a possible appearance of the Arthurian theme in S3?

Will we see the love triangle of Arthur/Guinevere/Lancelot come back into play and cause more chaos? I'm wondering if it might have something to do with the Fall.

Or will our lovers bring down a divinely-appointed ruler via their committed behind-the-back defiance of expected propriety?

Will Excalibur appear from beneath the waters, perhaps in another form, to declare a new king?

Could it even be a combination Jesus/Arthur, King of the World, returned? And they turn out to be a very naughty boy, disappearing into the night clubs of Times Square, New York, and that's how they lose him? (Social media viral sensation, anyone?)

I wouldn't be half-surprised if Greasy Johnson's name turns out to be Arthur, actually.

And no, I haven't forgotten that Adam's dad was named Arthur as well.

Bring on S3!

**Bonus**

If you've made it this far and you're thinking:

Let me leave you with this last connection.

In the back stage change room, remember Furfur delivers these lines:

FURFUR: What do you mean "have we?" You know we have. We were in the same legion. Just before the Fall. Doing dubious battle on the plains of Heaven. Remember?

On the first level, he is referring the Great War in the Good Omens AU.

On the second level, Furfur is paraphrasing Milton's Paradise Lost.

On a third level, I can (and will in a future meta) connect this back to the training initiative paintball fight at Tadfield Manor in S1.

And even deeper on a fourth level, if you do know the Holy Grail movie well, you'll remember there is an odd little subplot in it, that infers that the whole King Arthur and his knights thing is merely a full-on violent cosplay that is murderously rampaging across the countryside in the present day with the police in hot pursuit. It's a strange juxtaposition between reality and dream, and you aren't quite sure what it is real or not. The ending is bizarrely and abruptly surreal as the two story lines collide in the heat of battle, as the police turn up and arrest the combatants. A bit like this:

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aziraphales-library · 5 months

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i’m wondering if you would have any recommendation for their 41’ candle light date or any AU was set up in 41’? any rate will be accepted

thank you very much for your help in advance

Hey. We have a #post church scene tag. Here are some written since series two...

There Must Be Something by Infinitysided (E)

"Something then took over him as it would a man possessed. The spirit of something much larger than him. It took the shape of their relationship, their past, their inevitabilities. This energy screamed for worship and devotion; more, more, more. Aziraphale, well accustomed to the feeling of love, would not quite equate it to such. Far too ravenous and unbecoming were the impulses that ran through him." *** After Crowley had saved him and his books from the church, Aziraphale had insisted upon repaying him.

London, 1941. The aftermath. by Froggietime (G)

After they are done with the magic show, they both have wine together and I've decided that they get very drunk. I thought this was a silly idea.

There’s Magic in the Air (Among Other Things) by alter_autumn (T)

Following their adventures at the West End, Aziraphale and Crowley return to the bookshop and split a bottle of whisky. Some enlightening conversation ensues.

We'll Meet Again by bobbirose (E)

Crowley drew in a breath. “Could always say I was trying to tempt you,” he said on an exhale, eyes locked safely behind his glasses. “And that it didn’t work, of course.” Aziraphale tutted at him disapprovingly, trying not to show the thrill the words gave him. “Is that allowed? Downstairs, I mean. Tempting an angel?” Crowley shrugged. “Sounds a lot better than helping one out with a magic trick. Oodles more torture with that, I think.” The night that never ends in 1941 ends a little differently, with the help of a sentient gramophone.

The Last Dance by OneDapperCat (M)

In the midst of the Blitz, Aziraphale and Crowley come to terms with latent feelings they’ve tried to deny. Having gone from not being on speaking terms, to sharing a bed, their first night reunited in 1941 feels like a whirlwind. They begin to explore where they stand, as the second night comes to a close.

Bingo card by ScottiesEvans (T)

Aziraphale was way too excited for his performance at the West End. His hands were properly shaking, and it took all he had in him to get ready without using "frivolous miracles". Thank Heavens Crowley was there, and offered to draw Aziraphale's moustache on for him. Well, now his hands were shaking for a whole other reason. Surely, he wouldn't be able to do the perfect, well rehearsed knot in his bow-tie with those shaky hands. Surely, Crowley would have to stand extremely close to help with that. Surely, he wasn't to blame he couldn't resist placing a kiss on the demon's lips.

- Mod D

#good omens #good omens s2 #ineffable husbands #post church scene #mod d

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cobragardens · 8 months

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Red & Yellow Can Hurt a Fellow:

Color Symbolism in 1941 (Part 2)

So in Part 1 I held forth about how the use of red in and yellow in this minisode continues its symbolism from elsewhere in the show for romantic love and fear of head offices, respectively. From the moment of Aziraphale's realization that he is in love with Crowley, all the backgrounds become saturated with the vivid passionate red.

Then, in the dressing room, after the Bullet Catch, the walls are slightly more orange in comparison to the true crimson featured in the rest of the show, foreshadowing the intrusion of fear (symbolized throughout the show by the color yellow) into Aziraphale's romantic feelings for Crowley. This yellow becomes discretely visible the moment Furfur enters the dressing room, and it remains visible around Aziraphale and between Aziraphale and Furfur as Furfur menaces Crowley through the rest of the scene.

In the final scene of the "Nazi Zombie Flesheaters" minisode, after Aziraphale reveals (offscreen) that he has stolen the photographic proof of Crowley's fraternization with him from Furfur, Aziraphale and Crowley celebrate, sharing a bottle of wine by candlelight.

Pretty romantic, right?

Hmm.

Aziraphale and Crowley are each sitting on a red velvet chair, sharing red wine from a bottle with red paper at the top. The passionate romantic love is still there. But it's fragmented, isolated in small islands surrounded by yellow. Yellow backgrounds indicating fear are used in "A Companion to Owls" and "I Know Where I'm Going," so we've already been primed for what a yellow background means by the time we hit "Nazi Zombie Flesheaters." After the scare with Furfur, the background of Aziraphale's existence becomes once again saturated with fear.

Remember, this is Aziraphale's memory, so it's his feelings that are coloring these walls. Here's the same room in S1, looking toward where Crowley sits in 1941:

Now look at S2 again.

The walls are yellow in both (which fits the fear Aziraphale feels and must hide in the S1 scene as well), but the clarity and intensity of the yellow--and the fear--has been turned up and illuminated around Crowley.

@vidavalor proposes in "The Blitz, Part 3 Theory: The clues that suggest what it might be about & how it's affected what's come after it" that the story of the husbands in 1941 is likely to be a triptych, given that a literal Chekov's gun has been established (Aziraphale keeps a derringer in a hollowed-out book in the bookshop) and given that Aziraphale clearly references "A Nightingale Sang in Berkeley Square" in the conversation in the Bentley in 1967 but the song has not been established as one either of the husbands are aware of as significant to them by that year.

I agree with @vidavalor that a third part of the story is likely for two other reasons: firstly, the Nazi zombies are still shambling around London, another Chekov's gun; and secondly, because Aziraphale says, "You go too fast for me, Crowley." 1941 is the last record of a meeting between the husbands we have before Aziraphale says that, but...we haven't seen Crowley go fast with Aziraphale. At all. He's been responding to what Aziraphale wants, what Aziraphale decides to do.

So what happened between

and

? (Notice how this is still backlit in the pink and red or romantic and passionate and/or romantic love.)

How does "A Nightingale Sang in Berkeley Square" become a song Aziraphale references and Crowley picks up in 1967?

And, most importantly: Why does Aziraphale have to do the apology dance in 1941?

***

A Few More 1941 Observations

Do these curtains in 202? look like this--

(Note the symbolic Metatron head!)

--because Aziraphale wants this to be a romantic night and he's re-creating the most romantic night he's ever experienced?

***

Look who's hanging around next to Crowley even when he doesn't take off his sunglasses.

It's not just a passing shot, either: the dark horse stays in frame and visible the entire scene.

***

There's a post running around on Tumblr somewhere about how contemporary slang would interpret the language of the Bullet Catch (e.g. "never fired a gun at someone before") to mean that Crowley is a virgin (which I absolutely believe to be true) and Aziraphale is not (which I would find pretty surprising). Tumblr's search function being what it is, I have been unable to find it, so if someone would drop a link in the comments if they run across it so I can add it to the information here, I would I appreciate it deeply.

***

And finally, let us take a moment to appreciate Furfur's beautiful hair.

The wigwork in this series makes me sigh with happiness.

I think it's a telling choice that some of the angels have some dreadful visual qualities (Sandalphon's grille, Gabriel's jogging sweats) and some of the demons have beautiful visual qualities (Furfur's hair, Shax' 50s style).

#dark horse theory #1941 theory #good omens 1941 #good omens s2 #good omens meta #good omens color symbolism #nazi zombie flesheaters #ineffable husbands #bullet catch #aziracrow #crowziraphale

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but-thats-idiocy · 16 days

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I love to imagine the 1941 Blitz scene as foreshadowing Crowley ultimately saving the entire bookshop in S3. After Earth's destruction, they guide the humans to a safe place (a fact that explains why they lead the crowd in the opening title sequence). My fantasy goes like this:

"Aziraphale trailed behind, his shoulders slumped. He couldn't bear the thought of leaving his beloved bookshop.

When they left Earth and reached safety, ash-covered Aziraphale gasped. His eyes widened in disbelief as he saw the familiar stone-bricked, red-colored facade. It couldn't be… could it? "Crowley" he whispered, his voice thick with a mix of disbelief and dawning hope. A sly grin spread across the exhausted Crowley's face. "Shall we say it was part of the fraternizing, angel? Though frankly, getting all those dusty tomes here was a nightmare."

Aziraphale's heart, a fragile thing amidst the devastation, swelled. This gold-hearted demon, with his playful banter and hidden depths, had saved his most precious possession. In that quiet moment, eons of unspoken yearning seemed to condense into a single, powerful urge. Aziraphale grabbed Crowley by the lapels, his touch surprisingly strong, and with a hunger built over thousands of years, pressed his lips to Crowley's. Crowley, who had never felt loved by anyone since the beginning of time, was stunned. The moment his eyes locked on Aziraphale's teary eyes, he cupped his face and responded passionately. As they kissed, they clung to each other tightly, a silent promise exchanged in the face of oblivion. That stolen moment from eternity was worth defying the very fabric of their existence.

Thus, we learn that God's ineffable plan has an effable reason."

Can't help myself, I'm a sucker for romance.

#good omens #good omens 2 #ineffable husbands #aziraphale #crowley #mini fan fiction #ajb

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reikunrei · 3 months

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Who's Mummy, Anyway?

It's more Doctor Who inspiration time!! I wanted to explore another set of episodes, this time from season 1:

Episode 9: The Empty Child and Episode 10: The Doctor Dances

These episodes revolve around strange happenings during the London Blitz on January 20th, 1941. The Doctor and his companion, Rose, follow an object through spacetime, where it crashes on Earth. Meanwhile, a young boy is wandering looking for his mother, though he's been changed by this fallen object and its yet-unknown properties. And he's infecting others, making them "like him." Ultimately, the solution to their predicament revolves around figuring out the true identity of this boy's mother, finally bringing an end to his search.

Prior to watching these episodes again, all I remembered was that there was a hivemind-type element involved, among some other details. What I didn't remember, however, was the everything else surrounding this boy.

In the following scene, the Doctor is reacting to the phone ringing in the front panel of his Tardis (which takes the shape of a police call box). However, it's not a real phone, it's just part of the Tardis's disguise, and therefore shouldn't actually work. Just when he's about to answer it, a young woman shows up and tells him not to. However, he doesn't heed her warning and when she disappears, he answers it anyway.

They don't give it subtitles in the DW episode, but before the child actually starts speaking, there's a muffled, garbled sort of static-like breathing, very similar to Will on the phone with Joyce.

He follows this girl to a house, where she and a group of homeless kids she watches after are eating from a meal left on the table. At the present moment, there's an air raid occurring, and this girl takes advantage of that to feed the kids when the homeowners are stuck in their bomb shelters. And when the Doctor calls her out on it (though he admits he thinks it's brilliant) he says:

Which... just... well, I wasn't expecting a TFS reference like that. But anyway, jokes aside...

The Doctor asks these kids why they haven't been evacuated yet, as they should be in the countryside by now. However, several of them admit that they had been evacuated, but they came back for one reason or another. For at least two of them, it was because they had to deal with "a man" at whatever home they were evacuated to, and they decided that being out here, taken care of by this young woman, was a far better bargain.

This stuff never comes up again, but boy, a group of kids who have to deal with an unsavory man? Okay, throwaway-line Martin Brenner!

This is where the Doctor also learns that this girl's name is Nancy... word.

He asks her again how his phone could have been ringing, since she seemed to know why, but she won't reveal anymore information to him. Instead, he cracks a very Brenner-vibes joke when asking if any of them have seen Rose, who he got separated from at the start of the episode:

We all know that Brenner needed one specific blonde boy in order for his "research" to work...

Nancy's about to kick the Doctor out so the rest of them can finish their meal in peace when the boy searching for his mummy shows up outside the window. The boy is young - 5-6 years old - and wearing a gas mask. Nancy gets all the other kids to escape out the back of the house while the boy waits at the front door for "mummy" to let him inside. Nancy gives the Doctor a little more cryptic information and the phone in the foyer starts ringing, but when Nancy doesn't let the Doctor answer it, the boy's voice then comes through a nearby radio, and even through a motorized toy, which I think speaks for itself in terms of similarities to voices coming through radios/speakers and them otherwise acting on the fritz in ST...

"It's not exactly a child" had my ears perking up too irt @aemiron-main's posts about doppelgangers.

Nancy flees out the back, leaving only the Doctor with this boy on the other side of the bolted front door. The boy reaches through the mail slot, where we then see he has a scar on the back of his right hand.

Photos taken from this post by @henrysglock.

Now obviously the scars don't look the same. The one on this boy is just superficial (unlike Henry's, which seems to hold some form of importance we have yet to fully uncover), and they're not even on the same hand. However, it's still an important detail that's imperative to the Doctor's understanding of what's going on here, and comes up again later.

The Doctor tries speaking to the boy, but he simply continues asking for his mummy and begging to be let in because the bombs are scaring him. However, when the Doctor opens the front door, the boy vanishes.

With the "threat" gone, the Doctor chases after Nancy, finding her in an old railroad yard. She's still his best bet for finding out what's going on, so he asks her again about the boy. He's deduced that this boy has something to do with the object he and Rose had been chasing.

I didn't mention it earlier, but when they're chasing this object through spacetime, they struggle to keep up with it because it's "jumping time-tracks," so when they land on Earth, it's only a general estimate, both in location and time. They're roughly a month out from when it landed, and thus have to ask around to figure out where it is... we only had a month of peace in that house... anyway...

Also... a bomb that wasn't a bomb vs the huge amounts of energy needed to open a gate to the UD, El being called a "fancy bomb"...

Nancy takes him to where the object crashed and instructs him to go to the nearby hospital to talk to "the Doctor" there. Before he leaves, however, he asks her who she "lost."

We all know what the "lost" reminded me of... even the "he's empty" from earlier as compared to Max's mind being empty/just being the void or the "darkness," if we want to speculate on what that means.

So, we learn that the boy who's been following Nancy around is her little brother, Jamie, who was killed during an air raid around the time that this object crashed to Earth.

The Doctor goes to the hospital to see... the Doctor... who we learn is actually named Dr. Constantine (though I do have to really point at the weird emphasis they had on her simply calling him "the Doctor," which even confuses the actual Doctor, because Dr. Constantine is just a human, not a Time Lord, so what gives with the weird false curveball? Anyway, just something that really stuck out to me, especially irt all the weird name and identity stuff in ST). There, the Doctor sees that every bed is filled with patients who are all wearing gas masks, just like Jamie. The Doctor uses his sonic screwdriver to gather readings on all of the patients while Dr. Constantine warns him, "don't touch the flesh." (Which, this feels a little reachy, but it reminded me of an early interview for TFS where Bob's actor uses the phrase "in the flesh," which James talked about in this post). The Doctor learns that every patient has the exact same injuries:

Massive head trauma, mostly to the left side (okay Vecna), partial collapse of the chest cavity, mostly to the right, scarring on the back of the hand, and the gas masks are fused to the flesh despite a lack of burns.

We also see here that Dr. Constantine, who appears weak and is experiencing fits of coughing, is developing that same scar on the back of his own hand. Dr. Constantine explains how the first victim, Jamie, was brought in with "truly dreadful" injuries. By the following morning, all doctors and nurses who had treated him had the same injuries, and within the week, it had overrun the entire hospital.

When the Doctor asks what the cause of death was, Dr. Constantine says, "There wasn't one. They're not dead."

There is absolutely no sign of life in any of the victims, and yet they're "alive." They don't get out of their beds, they only respond to sudden noises that startle them (notably, they all respond in a group, like a hivemind. If one reacts to something, they all do), and Dr. Constantine even calls them "harmless."

The fact that they're dead-but-not-really obviously feels akin to the whole "Henry's dead but not really" deal going on in Stranger Things, both in the sense that his death in the outside world was faked so he could go to the lab unnoticed, but also reminded me of TFS and his ability to fend off the Shadow when Will had nearly fully succumbed to it in less than a week. Dr. Constantine even says that "[the patients] just don't die," which is very much like Vecna and his regenerative abilities/getting up and walking away after being flambée'd, as well as Brenner's seeming inability to stay dead.

While the Doctor continues talking to Dr. Constantine, Dr. Constantine proceeds to have a choking fit and his face morphs into a gas mask, his "infection" fully taking over.

At this point, Rose shows up at the hospital, having finally caught up to the Doctor with a new friend in tow: Jack Harkness.

I need to get into Jack Harkness in another post sometime once I do some more reading up on him again because he has a lot of interesting stuff that ties in with the Creels/I wouldn't be surprised if, in some way, shape, or form, he was some influence for Henward, but for now, we'll just stick to what's presented in these episodes.

When Rose initially got separated from the Doctor, it was because she saw Jamie on a rooftop and, concerned for this little boy out alone in wartime London, she went to meet him. However, she accidentally got swept off by a barrage balloon, having undone the rope tethering it in place as a way to climb the side of a building to reach Jamie. Jack spots her, and though he's presenting himself as a volunteer for the British army, he's actually from the 51st century. Using his spaceship, he rescues Rose when she nearly falls from her barrage balloon, catching her in a tractor beam and bringing her aboard.

We have a fun Victor Creel and Henry moment all wrapped up into one when Rose, a bit smitten by Jack, says hello twice.

Screenshot from this post made by Em regarding the weirdness about Victor and the Creel murders aftermath. Also thank you to Em for the screencaps of TFS!

As Rose and Jack flirt talk, he reveals that he believes Rose to be a Time Agent, since she's carrying a cell phone, has on a liquid crystal watch, and is wearing fabrics that won't be around for 20 years.

Even the stop acting now... a silly terrible play... anyway... Rose even keeps up the act of being a "Time Agent" and neither she nor the Doctor ever tell him they're not, he just figures it out.

When we meet Jack, we're also introduced to the concept of Nanogenes. Jack uses them to heal the rope burns on Rose's hand from when she fell off her barrage balloon. And I don't think I have to explain too much what this reminds me of, at least visually...

Another fun little detail I'll just shove in here is that Jack has parked his spaceship right beside Big Ben, that way it's easy to remember where he parked. The time on the clock reads 9:30 ("lessons start promptly at 10:00!") and Jack says they have just about 2 hours to close their deal before all bets are off (read: the bomb destroys it), which would be at almost midnight... and we sure love our midnight in ST, don't we? Not to mention that Jack is a captain... anyway...

We also learn that Jack was the reason this strange object crashed on Earth. He explains to them that he was trying to con them, deliberately sending a piece of space junk (it's an ambulance, of sorts, which Jack made sure was empty) through spacetime and would present it to them as something extremely valuable, but by the time the money would be exchanged, a German bomb was due to land exactly where the object had landed, thus destroying it before the Time Agents would be able to see what they paid for.

With that truth sorted out, the Doctor focuses back on the patients in the hospital, noting that it appears that their DNA is being rewritten.

I promise those Billy screenshots are gonna pay off later too...

It also made me think about the way Henry's blood changed after he was infected with the Shadow and the blood transfusions that happen in TFS, giving Henry's blood to the other lab kids to... do whatever it is that they haven't confirmed just quite yet, but likely has something to do with making them resilient to the Shadow or to Dimension X. James has spoken about that more in depth here, which I think is an interesting read.

Meanwhile, Nancy is back at the house they'd been eating at prior, packing up the rest of the food that was left. While there, Jamie speaks to her over the radio and then comes into the house. When she tries to flee out the door, he points at it and it slams shut in front of her and locks her inside with him.

At this same moment, all of the patients in the hospital get up out of their beds and begin asking for "mummy" while stalking toward the Doctor, Rose, and Jack, cornering them. Again, we're seeing this "hivemind" in action, the rest of them following what Jamie, the first victim, is doing.

Yes, the Doctor stops them by telling them to go to their room, which Jamie reacts to as well, thus saving Nancy. Yes, he's pleasantly surprised that it worked, too.

Also, just a fun little moment that I want to touch on that occurs here, when Nancy goes to leave the house, she runs into a little boy wearing a gas mask. She startles, thinking that it's Jamie again, but the boy removes his mask and it turns out to be the son of the family who lives in the house she was stealing from. Gotta love more fun times with lots of blonde-haired blue-eyed children getting mistaken for each other! We love confusing identities in this house!

Meanwhile, the Doctor, Rose, and Jack are going to the top floor of the hospital, which Dr. Constantine told the Doctor he should go to find more information before he succumbed to his "infection." There, they find a room with a busted out glass window and a tape recording setup.

*extremely loud cartoon blinking noises* are we seeing this shit??

I was especially raising my eyebrows about the "angry" bit, what with Brenner's whole deal in TFS getting Henry to become angry in order to trip him into using his powers. Not to mention the countless drawings, which are giving ST2 Will with his drawings of the tunnels, but then the absurd strength this child seemingly presented despite being, well, a child, vs Jim's jab at Henry in TFS about not having the "upper body strength" to cause the harm toward the local pets. They might not normally be physically capable, but they were infected with something that made them strong enough.

The Doctor starts playing the tapes in the room, and they hear recordings of Dr. Constantine talking to Jamie, trying to ask him questions, trying to discern if he's "present" or not, and only getting back, "Are you my mummy?" and "I want my mummy!" and other such iterations. Jamie at that point had been totally lost to whatever had infected him.

The Doctor starts thinking, saying that he can "feel/sense it" coming out of the walls of the room. He doesn't elaborate on what, it's just a feeling he picks up that neither Jack or Rose can sense (he blames this on them being inferior as humans lol).

Okay, so, fucking... again, raising my eyebrows about it being afraid, much like how the Shadow on TFS feeds off of fear and that's what makes it stronger. Not to mention the "power of a god" vs all of Vecna's God coding. Very happy these episodes gave me a reason to look again at one of my favorite James posts ever about this very topic. Which, like, sure, the Shadow/Mind Flayer and Vecna aren't one and the same, but, y'know, I'm connecting dots and having fun leave me alone.

Anyway, since the Doctor sent it to its room... and this is its room... well, yeah, Jamie shows up, and so using a fancy blaster that Jack has, they bust a hole in the wall to get out and then patch it back up, trapping Jamie in the room. However, he starts busting down the wall, ST1 Demogorgon-style, in order to get to them. The other patients begin coming for them as well, since Jamie's after them.

Meanwhile, Nancy is talking to some of the homeless kids, telling them that Jamie doesn't come after all of them, he only comes after her, so if they want to be safe, they can't be around her.

In that same scene, one of the kids is writing on a typewriter, which continues typing even after he gets off of it. When this is pointed out, and when they read what was written, it's just "Are you my mummy?" over and over again. Nancy tells them again that as long as they stay with her, Jamie will always be coming for them, and she leaves, intent on breaking into the crash site on her own to figure out what happened to Jamie.

Now, the Doctor, Rose, and Jack are stuck inside the hospital, trapped in a room with only one exit with dozens of infected patients on the other side intent on getting to them. Jack is able to teleport out to his ship and finds a way to speak to the Doctor and Rose via an "Om-Com," which means he can call anything with a speaker grill, which the Doctor realizes is what Jamie is doing as well. And, speak of the devil, Jamie pops up talking through the same radio that Jack is.

Jack manages to block out Jamie by playing "Moonlight Serenade" through the radio instead. Using music to protect them from the weird omnipresent dead-not-dead child? Okay! I guess! I'm going crazy.

Jack manages to then teleport Rose and the Doctor onto his ship after doing some meddling with his hardware, and now back together again, they ask him more about his conman status.

What if I just started eating glass and barbed wire for fun, huh? It really had to be two years, didn't it? Just like the discrepancies between Henry and Edward? Okay, yeah, sure, whatever, I guess !! For more information about that, check out this post by Em, there's a whole section detailing the year discrepancies shown to us in the ST newspapers that present this 2 year time difference (and take a gander at everything else he has there, it's well worth the read).

Meanwhile, Nancy has attempted to break into the crash site, but was detained by the guards who are protecting it. She gets handcuffed to a table beside a soldier who's clearly been infected, but nobody listens when she pleads to be kept away from him. She begins talking to him, saying she understands what's happening to him.

The Doctor, Rose, and Jack arrive at the crash site, where they learn that now the contaminant is airborne, and soon absolutely no one will be safe and the whole world will become infected, wiping out the human race. As the Doctor is explaining this, he interrupts himself by asking if anyone else can hear singing, and we then hear Nancy singing "Rock-a-bye Baby," which has put the infected soldier to sleep beside her. Love some more "music saves" (though this is merely because the lullaby put "Jamie" to sleep). The Doctor rescues her, and they all flee outside to examine the crashed object.

Here, the Doctor explains that this object actually wasn't empty like Jack said it was. Instead, it was filled with the same Nanogenes that were in Jack's spaceship that healed Rose, only because this is an ambulance, there were far more than they could imagine - specifically, enough to "rebuild a species." When the ship crashed, they all escaped. The first "living" thing they came across was a dead child - Jamie. Having never seen a human being before, these Nanogenes took Jamie as the blueprint for humankind. With him as the blueprint, every other human seems "wrong" to the Nanogenes.

While they're trying to sort out their next moves, the infected begin approaching the crash site due to an alarm on the ambulance being activated when they tried to open it. The Doctor explains that, because this is a battlefield ambulance, not only are the Nanogenes programmed to help heal wounds, but they're designed to make every living thing into a perfect soldier.

Also realizing I haven't mentioned this yet, but Chula is just an alien race or something. This ambulance is a Chula ship, as is the spaceship that Jack has in the episode.

Anyway, I told you that ST3 Billy screenshot would pay off. Now, they're sort of trapped here. They don't really know what to do, because this little boy is going to tear the world apart in order to find his mummy. Nancy pipes up then, saying that it's her fault this is happening.

Holy Mothergate. Do you ever just scream and cry and throw up? This was one of the other details I remembered about the episode, and it automatically had me thinking of the Alice/Virginia sister/mother swap that Em has talked about in posts like this one.

Nancy approaches Jamie, telling him that yes, she is his mummy, but he doesn't understand because "there's not enough of him left." However, Nancy apologizes to Jamie, saying she is and always will be his mummy, and hugs him. This causes the Nanogenes around them to activate, and while Rose thinks they're going to "change" Nancy, the Doctor stops her from interfering and instead begs the Nanogenes to figure it out. They should be able to read that Nancy and Jamie are related, and that her as the mother should be more than enough for them to get it right.

There is just so much happening here. Henry being the "parent" to the other lab kids, whether by actual blood relation or simply because his blood was used in transfusions to give the kids his same mutated blood, and that being a "superior" DNA type, which is also a word One uses during his monologue toward El.

And the constant use of the word "change" throughout the episode (this isn't the only instance it's used) as compared to Brenner Sr. and Henry said to have "changed" after their run-ins with Dimension X in TFS.

"Mother knows best" isn't something that comes up verbatim in TFS, but the actress who plays Virginia made a post on instagram with "a mother always knows" in the caption. Plus, matched with Virginia's whole thing about seemingly "knowing" what was going on with Henward, as per One's monologue in ST4, and being in cahoots with Brenner about getting him back into the lab in TFS... well, at least in these Doctor Who episodes, it's "mother knows best," but for good.

Anyway, the second episode wraps up with the Doctor sending out the Nanogenes to "fix" all of the people they infected the first time, thus bringing all of these "dead" people back to life. Again, they take the form of these light particles much like the light particles in the UD, which we still don't know the origins or purpose of, other than a means of communication across universes/timelines! Shrimpy!

One thing I really noticed, which is something that also came up in the last DW/ST comparison post I made, is this emphasis on identity. I just find it super interesting that in these episodes, which have lots of other parallels (especially stuff regarding the Shadow/MF), there's this emphasis on knowing who someone really is. In ST, this is something that's becoming more and more important, all the way from ST1 with stuff such as Will's body being a fake, up until ST4 with the uncertainty in the true identity of Vecna and One, and even Brenner.

Basically, I just think that all of these other parallels to the Shadow and the language used around it lend credence to the idea that this idea of mistaken identity and not knowing the full truth until the very end is something that is obviously going to come into play in a very overt way in ST5. Also time travel and alternate universes definitely exist in ST simply because of these connections to DW, and this isn't even getting into any DW episodes that are about alternate universes and changing timelines! Which I will hopefully be discussing sooner than later :]

#st dw #stranger things #i say things #im So tired but i DID IT.... it's DONE

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trapped-in-amber-666 · 1 year

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Some thoughts on Blitz scene from season 2 again

As lovely @capitainfantasticalright on TikTok pointed out, in this scene Crowley and Aziraphale are in the backroom of the bookshop

Here’s a screenshot from ep. 2 and

look

everything is in place

Same table, chairs and even the candlestick

Aziraphale preferred to keep it the exact way it was in 1941

(whatever happened between those two back then and we know it was not a good thing)

#good omens #good omens season 2 #gos2 #go2 #aziraphale #crowley #ineffable husbands

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vidavalor · 9 months

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The Blitz, Part 3 Theory: The clues that suggest what it might be about & how it's affected what's come after it

I rewatched 2.04/The Blitz, Part 2 last night and a moment stood out to me that made me think I have an idea of what might happen in the flashback we all seem to have collectively agreed is almost certainly in S3-- The Blitz, Part 3.

When Crowley & Aziraphale are in the magic shop and Glozier is there in the background, the camera jumps to a pretty significant reaction shot for Glozier when Aziraphale tells Crowley that he has a Derringer hidden in a hollowed-out book in the bookshop. I think everyone sees that bit as important-- it's a literal Chekhov's gun sitting out there for the future story, after all-- but I was thinking about why it matters that one of the Zombie Nazis overheard this when they're... ya know... zombies. Their methods of murder tend to be a little more direct, yeah? lol What do they need a gun for when they eat people to death? But then it hit me why it will matter that Glozier heard this... it's not about the Zombie Nazis, exactly. It's about Furfur.

When we leave Furfur in 1941, he's just been embarrassed in front of The Dark Council by Aziraphale, who has swapped out the picture of him and Crowley for a flyer for the Ladies of Camelot, right? They literally laugh in Furfur's face. Furfur's entire plot in 1941 is about how he's been stuck in processing for millennia and he's trying to get out of it-- about how he's jealous of Crowley and the few others who get to go to Earth. He's dealt slight after slight after slight during this night in 1941. He fails to get proof against Crowley, who doesn't even remember him. He gets shamed and embarrassed in front of the higher-ups and his peers. His fledging... whatever it is exactly lol... with Shax-- who is the closest thing he has to a friend-- is damaged as she's gone out on a limb for him and he hasn't delivered. Most terrible, he's sure he's never going to get out of his miserable eternity of grunt work. He's *very, very, very* unhappy and boxed into a corner, right? So what does Furfur want, now that he's stuck in Hell forever and all of it is laughing at him?

Revenge. He wants revenge.

In the short term, he also wants someone to scream at, so he goes back up to Earth and finds the Zombie Nazis, who are roaming around London eating people. They can't go very quickly so they haven't gotten far and aren't hard to find lol. Furfur knows it's not exactly their fault that he was tricked by the angel as, technically, they completed the tasks they were given, but he's furious and he needs to vent it, so he starts yelling that he's going to revoke their zombie-life-on-earth clauses. (Even *the Nazi zombies* get to be on Earth and Furfur does not? Yeah, he's not going to be able to handle that...)

The Zombie Nazis, understandably after seeing that video he showed them in Part 2, start freaking out because they don't want that whole fly fate for all of eternity and they don't know how to reach anyone beyond Furfur so they'll do anything to keep Furfur from taking out his humiliation on them. Upon hearing that this is all about how Aziraphale tricked Furfur and got him humiliated by Hell, the Zombie Nazis start desperately suggesting that it's not too late! They can help Furfur still get Crowley and Aziraphale! Even if Hell thinks Furfur is a joke and won't listen to him about the angel and demon being involved, they can still help Furfur get revenge!

They bring Furfur to outside the bookshop to find Crowley and Aziraphale because that's where the Zombie Nazis say they saw them together earlier & they know Aziraphale lives there. Furfur's in a rage because through a side window, he's observing Crowley and Aziraphale drinking wine together by candlelight in what is the "I know you'd come through for me" scene from Part 2-- and Aziraphale even has the photo Furfur took of them earlier in his hand. (Insert here more of the recurring gag about Harmony lip-reading as now he's also looking through the window and probably gets a line like "he is saying it again! 'banana fish go-RILL-ah...'").

So Furfur is in a fur-furious rage here and is ready to murder these two but... there's just one *slight* problem...

He's a demon.

He can't get into the bookshop.

Aziraphale would have to invite him in and he's certainly not going to after their meeting earlier. But! This is when Furfur and the Nazis realize that there is someone in their group who *can* get in the bookshop...

....our fave fascist, Fraulein Greta Klauschmidt.

As "Rose", Greta recruited Aziraphale-- entering his bookshop when she was a human, invited in by Aziraphale. She can still get into the bookshop. (It's also a parallel to Shax tricking Aziraphale into letting her into The Bentley in S2.)

Once Furfur and the Nazis realize this, the question then becomes: okay, so if Greta can get into the shop, how is she then going to kill Aziraphale and Crowley? (*Especially* Aziraphale, whom Furfur really, really, really loathes at this point lol.)

This is when we go back to the scene that triggered this meta, which is that this is when Glozier then volunteers the information he overheard in the magic shop-- that there's a Chekhov's gun in the bookshop.

The Derringer works as a weapon here to do that because, as Furfur himself pointed out during the magic show earlier, if Crowley had shot Aziraphale in the face, it wouldn't just be paperwork but it might not be possible for them to "put him back together again"-- indicating that there are some things that can happen to angels and demons that are irreversible and can effectively kill them, more or less-- and a gunshot to the head is one of them.

(I'm also realizing as I'm writing this that that Glozier's *ear* falling off in the magic shop is another nod to him having *heard* important information and so far, we've only seen half of what he heard pay off-- the time and location of Aziraphale's performance in the West End. We're still awaiting pay off of the gun bit.)

My bet is that Aziraphale's Derringer in a hollowed out book is something he actually *showed "Rose" like the cinnamon roll idiot that he is* lol... so once Glozier brings it up, Greta remembers and she knows what book it's in and exactly where it is in the shop.

So Furfur still cannot get in but Greta can get in... which means Greta is now the most powerful character here. If Furfur wants Aziraphale dead, Greta can make that happen... *if* they cut a deal. What kind of deal? Well, the only thing Greta is going to want that she thinks that Furfur could give her is to not be a zombie, right? To be alive again? Reverse the clause in the paperwork and give her her life back. Whether or not Furfur can actually do this (and I'm not sure if he can or not, really, but I'd wager probably not), Furfur tells Greta that he can and she and the other Nazis believe him.

The plan is that the four of them go to the bookshop, where Furfur activates a miracle blocker card for a few hours surrounding the shop in an effort to limit Crowley and Aziraphale's powers and give the Zombie Nazis the advantage. Once the miracle blocker is in place, Greta goes inside while Harmony and Glozier make noise outside, in an effort to separate Crowley and Aziraphale to make it easier to kill them by attempting to lure one of them outside. Greta is to kill the one that stays inside the bookshop while Harmony and Glozier are supposed to kill the one that goes outside. (This will not happen according to plan at all, whatsoever, but it does seem like the most likely plan these four characters could form where they all have a role in it.)

So because Greta is the only one who can get inside, she has go to into the bookshop and be the one who can kill, most likely in their mind, Aziraphale. She'll still be a staggering zombie when the extremely bright Furfur sends her in there to obtain and fire a gun at a pair of supernatural beings lol but she manages to sneak in the back door without Crowley and Aziraphale really hearing the breaking & entering... or whatever noises the other two are making outside... as Crowley and Aziraphale are a little busy gazing at one another.

It would actually be a really funny, very Good Omens-y gag IMHO, if Greta is colossally unsubtle in entering the other side of the shop from where Crowley & Aziraphale are and is banging into stuff while Harmony and Glozier keep coming up with more and more insane noises outside... but Crowley and Aziraphale are too busy making heart eyes at one another to care or do anything about it. A very "did you... hear that?"/"oh, must be the war, let's go back to gazing" type of attitude with a steadily increasing series of sounds that are harder and harder to dismiss but they are trying, ok? lol. (This would also parallel Aziraphale ignoring the demons outside for as long as he could during The Ball in S2, until the bookshop begins literally breaking around them.)

So while we watch scenes of Furfur and The Zombie Nazis Hatch A Plot, the relationship tension between Crowley & Aziraphale is building as much as the plot tension. They intercut Furfur & the Nazis scenes with Crowley & Aziraphale having quiet, romantic, candlelit glasses of wine after their very intense and illuminating evening together. Each time we go back to Crowley & Aziraphale... they seem to be getting increasingly cozier. They sit a little closer, they get a little looser around one another. Crowley's glasses might come off. We get the sense that this is all Going Somewhere and it's somewhere they've never let themselves go before but after the events of Blitz 1 & 2 tonight? It's becoming increasingly clear to them that they will. There's virtual certainty that if *nothing else happens* to these two tonight and they're just left alone for once, they're at least going to kiss and what we're watching is them slowly enjoying the path there and them enjoying silently knowing that they're going to.

At some point, we hop from the Nazis back over to Aziraphale asking Crowley if he'd like a little music... Aziraphale might even have something *modern* kicking around, he's excited to tell Crowley (like he might have been totally not at all fantasizing about this exact Crowley-dashing-in-his-suit-with-a-glass-of-wine-smoldering-in-the-bookshop scenario when he bought this record from Maggie's grandfather recently lol)... and he goes over to the gramophone to put it on and now we've got Crowley and Aziraphale with candlelight and wine and music and they're each just taking step after slow little step that slowly acknowledges the romance at play here. Aziraphale's record is probably Glenn Miller. We know he likes big band and The Bentley played him "Moonlight Serenade" in S2 and Glenn Miller also recorded "A Nightingale Sang in Berkeley Square", so it's one record where "Moonlight" could play and then, eventually, so too could "Nightingale" without Aziraphale getting up and moving away from Crowley... and you better believe that when we get to "A Nightingale Sang in Berkeley Square" playing that Crowley and Aziraphale are a literal breath away from kissing.

It'd be completely perfect to them, right? Very romantic. They're there together, alone, they've survived the Nazis and Mrs. H and threats of Hell and have spent the night gazing at one another and now they're here and it's quiet and there's candlelight and it's the familiar, comforting bookshop that is home for both of them... the same place, ironically, that they will drink wine together and make eyes at one another *for decades* after this night-- without Aziraphale putting on The Song, of course-- and you know they will think about 1941 every. single. time. while never actually recreating it.

(It's also why, when they're both wasted in the bookshop in S1's "Eleven Years Ago", Crowley is rambling on about bananas and gorillas and bouillabaisse/fish stew-- ya know, "banana fish gorilla..."-- and they're both so drunk and thinking about how they're almost out of time... and so they're both thinking of 1941 and wind up making those hilarious kissy faces at one another because they both obviously still want to actually kiss some 80 years after the night they almost did. Crowley also calls Aziraphale "baby" in the middle of his ramble. He might have called Aziraphale that in 1941, when they weren't drunk and were on their way to kissing. He also might have just wanted to, so it turned up in "Eleven Years Later" and might come up again later on in the present of S3, whenever they inevitably get to finally have a decent, uninterrupted, not painful kiss.)

Back in 1941, as we flip between Furfur/The Nazis and our heroes, maybe Crowley's even gotten comfortable enough to lose the glasses (though he can leave them on if he still has the hat on when they go to kiss so that he can take the hat off like a gentleman to kiss Aziraphale *swoon* and actually that's how Aziraphale died everyone surprise twist he's been dead since 1941 an a ghost this whole time lol)... and there's romantic big band on the record player and there was magic in the air and angels were dining at the Ritz when a nightingale sang in Bahhhrrrrk. Leeeeee. Square... and they're *almost* there, right? They're basically kissing. There is no way for either of them to ever legitimately pretend that was not was going to happen (even if they will try in the future lol) as their lips were a millimeter away and both of them want it and just like this and it's been six thousand years of pining and so, of course, that is when...

...Greta zombie-crashes into the room with Aziraphale's once-hidden Derringer aimed at them.

(Aziraphale's probably furiously muttering "oh good Lord" under his breath with a very different tone than in 1793 lol. That is his attitude, at least, if not the dialogue.)

So then they have to try to protect one another right and it's mild chaos for a moment as like Crowley starts looking out the window at Furfur and the rest of the Zombie Nazi Trio (paralleling his demons-outside-the-bookshop paranoia in S2) and realizes they were the noise while Greta is all "pity you both must die" again with a little smirk and Aziraphale is trying to calm her down and reason with her while also subtly trying to get close enough to get the gun and she probably fires but she's a zombie so she misses lol and he's like glancing over for Crowley and Crowley seems to disappear for a moment while Aziraphale stalls Greta and just when we think where the hell did Crowley go?! Aziraphale is about to be shot in the face!...

...Greta is shot in the face instead.

By Crowley.

With The Bullet Catcher.

And the bullet that was in Aziraphale's teeth a couple of hours ago.

Crowley has not so much has blown the fluff off a dandelion since he arrived on Earth six thousand years ago but you interrupt his first kiss with the angel and you. are. dead, you Nazi bitch...

I don't have a theory as to what happens after this beyond that we already know that Furfur is in Requisitions in the present now so he's going places lol. Also worth mentioning that Crowley or Aziraphale (I'd lean towards Crowley) could get shot by Greta's wild aim when they are trying to protect one another but it would be more of a graze that one could write a hundred h/c fics over than anything worth actually worrying about lol. It could be something like Crowley gets nicked but goes down as dramatically as he does in the paintball scene in S1 and Aziraphale is horrified but also fighting for his own life so he winds up focused on Greta and neither of them see Crowley slip away to come back with The Bullet Catcher... something like that. I'm just pretty sure that the fact that there are really *two* Chekhov's guns in the bookshop and that Greta is the only 1941 antagonist who can get inside it maths out to Crowley-- shooting her with The Bullet Catcher.

I'm not sure what happens to Harmony and Glozier. Aziraphale says in S1 that he's never killed anything so he can't kill anyone here and while I'm fine with Crowley mowing down Nazis with every Chekhov's gun left in the plot lol, I don't know that that's what happened or if, honestly, the two of them and Furfur just see Greta die through the window and run off. Maybe Aziraphale miracles the Nazis to Siberia. Who knows. But the main gist of it, I think, is that Crowley kills Greta when the Zombie Nazis and Furfur try to exact revenge on Crowley & Aziraphale and, in doing so, interrupt what would have been their first kiss and it's while "A Nightingale Sang in Berkeley Square" is on in the background so that every time the song comes up in the future, it's a reference to this near-kiss in 1941, adding layers to scenes from Soho 1967 to the end of S1 to the end of S2, etc...

Kind of makes Crowley desperately kissing Aziraphale in the middle of the bookshop while a vengeful Heaven, this time, is trying to separate them, even more aldkjlkfjlewje, yeah?

I'd also like to just throw in here that it's actually possible that all of this is the same but they *did* kiss... that they were kissing when Greta burst in. Part of me really wants that to be the case. That maybe they did get to have this kiss, if only because even if only a tenth of what I've said above is anywhere close to right, it's still pretty romantic and it would be nice if they got to have that, especially then, even if it was ultimately interrupted. It's Soho 1967, though, that convinced me that they came *very* close but ultimately didn't (and honestly, the only way they don't in 1941 if they get that close is if they're interrupted and an armed Zombie Nazi crashing through the bookshop feels about right lol.) It's this bit from Aziraphale to me that says they almost kissed but didn't:

The picnic was likely Crowley's 1827 date in Edinburgh. The Gabriel statue was there for amusement but you know Crowley had a picnic set up nearby. (It's not that weird-- people used to picnic in graveyards in the 1800s & the only time Crowley & Aziraphale would be able to together would be under the cover of darkness.) Then, they ran into Elspeth and the night took a turn. (Elspeth was also digging up bodies from graves, which is a parallel to zombies, hooking 1827 to 1941.) Dining at the Ritz-- literally going to The Ritz and eating together, which they do twice in S1-- is something Aziraphale would literally like to go do as a date as but it's also code in the 1967 scene for "perhaps, one day, we could finish 1941." He's telling Crowley in 1967 that he would still very much like to kiss him one day.

The near-kiss in 1941 would then also be what gives Aziraphale the motivation to eventually give Crowley the holy water in 1967. Back in 1863, Aziraphale didn't totally see that Crowley wanted holy water to protect them. By 1941, when they're staring at the corpse of a once-Zombie Nazi on the floor of the bookshop that Crowley just killed with the gun that's in his hands, it's a different sort of proof. 1941 becomes the era of 'here is proof that Crowley will literally kill to protect Aziraphale' and maybe it freaks Aziraphale out a little (as well as also turning him on a lot lol). Maybe that's why they spend the next years after that until the '60s together but not really together. Maybe that's why they don't have another chance at the kiss after 1941-- why they don't just try again-- because Aziraphale slows down a bit after it, afraid that Crowley could get hurt and that this is too dangerous, but he also understands now that Crowley is in love with him and when he hears in 1967 that Crowley is going after Holy Water, Aziraphale just gives him some, as a way of saying that he knows they're in love but this is impossible and they need to not pursue this in a way that will get them killed because he can't lose him.

A near-kiss in 1941 adds layers to 1967 Soho by adding an additional meaning of 'physical intimacy' to "dining at the Ritz". It adds even more weight to the end of S2 and the kiss and the "no nightingales" through to the Tori Amos angsty cover of "A Nightingale Sang in Berkeley Square" in The Bentley. There are other scenes (the end of S1 and others) that it touches as well, if indirectly, but maybe my favorite is this scene, which has already been given extra layers of meaning since The Blitz, Part 2 and The Bullet Catcher plot but lol now add in the idea that the rest of the story is that Crowley and Aziraphale were going to kiss and they were interrupted in the moment, shot at with at least one of them probably getting nicked, and then Crowley killed someone with The Bullet Catcher and tell me it doesn't make this already amazing sequence even more amazing:

#ineffable husbands #good omens #crowley #aziraphale #good omens theory #good omens 1941 #good omens meta #aziraphale x crowley #crowley x aziraphale

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