#where's Furfur with the camera?

[mitrielle]

When the curtain is lifted (unexpectedly and in all the different meanings)

And now please welcome with a thunderous applause: The marvellouse Mr. Fell!

... and his ... assistent.

Current thoughts:

Aziraphel: "Oh dear, show must go on. Nobody will recognize."

Crowley: "Fuck it!"

#good omens #good omens fanart #crowley and aziraphale #the marvellous mr. fell #where's Furfur with the camera?

[fuckyeahgoodomens]

ABSOLUTELY DELICIOUS S2 BTS VIDEO! :)❤ 🐍😊

David: Good Omens 2 will be once more unto the breach...

Michael: The kind of world that Neil and Terry Pratchett created here. It's... it seems to be expanding out into the world in all kinds of unexpected and and truly joyful ways.

Douglas Mackinnon (the directior): If Season one was a comedy about the End of the World, Season Two is a comedy about the beginning of everything else.

Miranda Richardson (demon Shax): The Bromance is continuing.

Doon Mackichan (Archangel Michael): What a cast, is all I can say, incredible, incredible cast.

Liz Carr (angel Saraqael): But of course a script of Good Omens is a whole different thing because anything can happen.

Shelley Con (Prince of Hell Beelzebub): There's always a smirk somewhere around the corner in a Good Omens script.

Quelin Sepulveda (angel Muriel): I had no idea what to expect, where this character was gonna go...

Liz: I feel quite honored that when they were thinking of the realms of sarcasm they thought of me.

Gloria Obianyo (angel Uriel): Seven-year-old me is like, 'Oh my God! This is the stuff of dreams!'

Maggie Service (human Maggie): A whole Fantastical Universe of joy that we just get to playing and you'll get to watch.

Tim Downie (Mr Brown): I am immeasurably, immeasurably excited.

Jon Hamm (Archangel Gabriel / Jim): You know I was very pleased when when I was brought back to be a part of that story.

Neil Gaiman: Ppeople are excited and I'm working so hard to tell them absolutely nothing. I'm very lucky because Michael Sheen and David Tennant love Crowley and Aziraphale. I think the first moment that I saw David and Michael acting together... all of a sudden there was Crowley and there was Aziraphale, it was like seeing two friends who I hadn't seen for years.

David: There's something about the way Neil sees the mundane that is extraordinary and there's something about the way things filter through his imagination and of course in this world it also sprinkled with the imagination of Terry Pratchett and those two together created this cocktail that is it's unlike anything you've seen anywhere else and yet it feels utterly familiar.

Michael: And they both have a sense of the absurdity of what it is to be a human.

Rob Wilkins: When you've got David and Michael in front of the camera David and Michael evaporate and you have Crowley in Aziraphale and that relationship it needed it needed interrogating more and of course we all know that Terry and Neil had conversations about what the sequel would be and Neil has taken that and he's blown it up in a way that the viewers are just going to love so what would Terry think? Terry would pat Neil on the back and he would push Good Omens forward, he would break a bottle of champagne over its bows and be absolutely delighted and I know that, I'm the one person on Earth who's been entrusted to know that for certain and I promise you Terry would be absolutely delighted.

David: We've got some cast members coming back, returning but playing different parts which is a lovely little addition to things isn't it, so Miranda Richardson is back not playing the same role as Season One, she's now Shax, my replacement - Crowley's replacement on Earth.

Neil: Shelley Conn came in as Beelzebub and it feels in a weird way kind of like a Doctor Who Regeneration. We have a new demon called Furfur played by Rheece Shearsmith who was our Shakespeare in Season One.

David: Nina and Maggie were two of the Sisters in Season One, The nunnery of Doom, and now they are two characters imaginatively called Nina and Maggie.

Maggie: In season one really it was just me and the nuns, it was the nun gang, so to actually get to meet Aziraphale and Crowley... I hadn't been prepared for how delightful Aziraphale is.

Neil: Season Two begins about threem four years after the events of Season One.

Michael: Aziraphale and Crowley now are, you know, out on their own, they're.. they're a team to themselves.

Neil: Everything changes when Aziraphale gets an unexpected visitor.

Michael: A familiar face comes along with a mystery that needs solving and as Aziraphale and Crowley attempt to solve that mystery they realize that there are much more terrifying things ahead than they've had to deal with in the past. That involves having to go back through history as well to get clues as to what might be going on.

David: When we go back into these stories set within Aziraphale and Crowley's personal history there are moments within those stories where where their relationships sort of pivots or develops in some way. Himself and Aziraphale I think rely on each other even more in season two than they did in Season One because they are by necessity and by circumstance they're a they're a double act that nobody else can join.

Michael: It's extraordinary to see how important these characters and this story have become to a lot of people and how much people enjoy expressing themselves through art, through fan fiction.

David: I went to a Comic-Con and the amount of Crowleys and Aziraphales that I saw everywhere, the cosplaying just took off, and always in twos, which was joyous because of course the characters in my mind only exist in relation to each other. They are the Ying and the Yang.

Michael: It's such a... I think it's such a compliment and I think Neil feels the same way as well.

Maggie: Always clever Neil Gaiman, isn't he?

Nina: Yeah yeah, you'd have to sort of admit that at some point, yeah-

Maggie: He's quite good at his job.

#good omens #gos2 #season 2 #interview #david tennant #michael sheen #david interview #michael interview #david and michael #michael and david #ac #neil gaiman #videos #video interview #bts #bts video #neil interview #YASSS #douglas mackinnon #douglas interview #maggie service #maggie interview #nina sosanya #nina interview #photos #bts photos #rob wilkins #rob interview #shelley con #beelzebub

[vidavalor]

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

[noneorother]

Furfur has two photos because he has two cameras

The madness continues I guess? This is Fufur's camera(S) from the x-ray content on Amazon prime. They said it actually worked on the day, which is a little crazy for a few reasons... most notable of which, is that this is not one camera. It's two cameras.

The bottom one is a heavily modified 70's sx-70, probably with a front that has been covered in black pebble grain leather to hide the viewfinder and logos in the front. It's also upside-down, so that the polaroid comes out the top of the camera. I've drawn the shape hidden inside the steampunk accessories

That photo that comes out during this shot is from the sx-70 with the Mirage 28mm macro lens attached to it (lol wtf. That is extremely funny if you know anything about photography). The second camera is an original 1948 95 model land camera in black. These were originally portait or vertical, aned flipped out with a stand as the cover. Here they've added a barrel lens and taken the front cover stand off.

They've also combined the viewfinders to be up top beside the flash. These older models didn't have an automatic film ejection. You had to rip the film out of the back after opening it. The film was also slightly different sizes than the polaroid you've probably seen before. See below.

The one is Furfur's camera ejection is wider than the smaller, more close up shot in Crowley's hand later in the dressing room. Because the images tracked on to the film in the theatre were 100% done in post (no polaroid film develops that fast), it could just be a small inconsistency. It would make sense. But why go through all the trouble to build a double polaroid camera for Furfur to use? And if there are two polaroids, where's the other one? And why does Furfur not seem to have it?.

-----------------------------------------------------------------

Thanks to @kimberleyjean @thebluestgreen and @embracing-the-ineffable as always.

#good omens meta #good omens 2 #art director talks good omens #go season 2 #good omens season two #go meta #good omens season 2 #furfur #good omens #good omens analysis

[searchingforakeythatdoesntexist]

Ineffable May, Day 25: "While We Dance" - A glimpse of "Drive Me To The Moon", written by @captainblou & illustrated by yours truly! Coming soon!

Drive me to the moon - a Good Omens human AU, written by my dear spouse @captainblou 💖 A classic enemies to friends to lovers set up, a lot of angst and an eventual happy ending, where Aziraphale (He) is a professional dancer and Crowley (Them) a rally driver...

Excerpt:

Aziraphale joined them by the car. “What now?”

“Now we wait some more… I like to pretend I’m checking the engine, it looks cool on camera,” Crowley winked, making their race partner laugh. “Really, there’s nothing much to do before our starting time comes. The first crew should start soon.”

Shax had a nice run, nothing extraordinary. Crowley could tell her partnership with Furfur was working nicely, but her skills as a driver were too limited to excel. Bee was a far better driver, and Crowley felt themselves tense as they watched their friend complete the stage. They passed the last checkpoint almost 2 full minutes ahead of Shax. “Fuck…” they muttered. “Is it a good time?” “Nothing we can’t beat, but yeah.”

They settled into the car as Bee’s crew finished, taking care of the usual security checks, and drove slowly to the starting line. In the passenger seat, Aziraphale was clenching his shaking fingers around his notebook, quietly mouthing through the first lines of his pacenotes. Crowley extended their hand to touch and still his fingers, and felt him relax almost instantly. Aziraphale took a deep breath in and focused on the countdown on the board in front of them. Their car was now displayed on the giant screen. Crowley put their hands on the steering wheel and focused. The minute before the start of a special was always a moment of complete awareness. Time seemed to slow down, colours were brighter, outside noises muffled down as the sound of their own breathing became almost overwhelming. Their heart thumped in their ears, hard, but slow.

“Ten seconds,” Aziraphale announced.

Crowley passed the first gear and steadied their foot on the pedal, holding it just enough to make the engine purr. They watched the red numbers decrease, Aziraphale counting down at the same time.

The moment they reached zero, the car surged forward and gathered speed on the first straight line.

oOo

See you all in June!!!

Drive Me To The Moon

Written by @captainblou

Main post : https://www.tumblr.com/captainblou/751118942443028480/writing-is-done-editing-is-80-done-illustrating?source=share

#good omens fanfiction #enemies to lovers #fanfiction #good omens #crowley #aziraphale #DMTTM #teasing #ineffable husbands #aziracrow #david tennant #michael sheen #elenthyaandgoodomens #ineffable lovers #my art #captainblou #ineffable may 2024 #ineffable spouses

[most-normal-eccles-cake-ignorer]

celestial surveillance + some garden of eden parallels

For there is nothing hidden that will not be disclosed, and nothing concealed that will not be known or brought out into the open. - Luke 8:17 (NIV)

Over and over, we see how the bookshop feels safe/private while simultaneously being sort of a fishbowl, leaving its inhabitants quite exposed to onlookers. *garden of eden vibes*

Similarly, Aziraphale and Crowley tried to conduct a class-A surreptitious 6000+ year agreement/slowburn romance and yet their 25 Lazarii relationship is fairly obvious to others.

Reminiscent of how Crowley is painfully aware that nothing is certain and time is horribly finite, Aziraphale lives with the knowledge that anything he does or says can be used against him—or much worse, used against Crowley or others our little guardian cares about. Unlike his emotional support demon, however, Aziraphale was afraid Before the Beginning, before The Fall.

While Upstairs aren't the only ones watching, they have the potential to be the most dangerous threat (emphasis on potential bc they have to take an interest and also maybe stumble into important clues): The heavenly office overlooks the entire world. Where Hell had to send Furfur to the theatre with a camera, Heaven's got Earth Observation Files they can pull up to see what someone was doing at any point in history—not even St. James Park can keep you anonymous in the face of thirty-seven classes of scriveners/recording angels!

Aziraphale may tend to underestimate danger in general because of his misplaced hope that Heaven is truly Good, but in the same way that he can be both clever and stupid, I think he trusts Heaven and fears it at the same time. Why else would he be so worried about breaking their rules even when he knows they are wrong?

Of course, Aziraphale is also a courageous little bastard with a deity-defying protective streak! Despite Heaven's indoctrination, we see him navigating all sorts of grey area as he learns to 'blur the edges'. But he knows it isn’t safe to do that openly. He keeps this more human side hidden and tries not to think too hard about why doing good is wrong in heavens eyes. (lol other people's aziraphale metas are my main food group rn)

At the end of S2, we see him leave A.Z. Garden & Co. after tasting the forbidden fruit large oat milk latte, armed with his na��ve/misguided 'knowledge of Good and Evil'. (and perhaps he knows he can't 'let the sun can’t go down' on him in Soho lest the the Metatron mete out death instead of coffees?) When Adam and Eve left Eden, Aziraphale and Crowley observed from above. When the angel and demon leave their own garden, we get the sense that they are also being watched.

(also idk if this is anything but Adam facing off against the lion while Eve looks on in the bg seemed a bit like Crowley watching Aziraphale walk into danger w the Metatron. could be a good sign since the lion gets turned into salami)

There are hints at the end of S2 that the watching is getting a little a spicier (at least I think they are hints haha): the bookshop windows are still broken during the last part of E6, further decreasing privacy; the zombies used binoculars to watch A&C from the Dirty Donkey under cover of darkness in 1941 but the Metatron just looks across the road in the light of day. And then there's the whole 'hefty jigger of almond syrup'.

#im watching you wazowski always watching #also i'm just thinking jigger -> jiggery-pokery = trickery?? that's got to be on purpose right? *admiral ackbar voice* ITS A TRAP #good omens meta #good omens analysis #the metatron #a.z.fell & co. #the garden of eden #good omens #good omens 2 #good omens s2e6 #the final fifteen #aziraphale #crowley #lol this started as a paragraph in the GO:Lockdown Aziraphale draft but it was getting too big so here we are #i'll finish it eventually but i just like looking at everything everyone else is posting sm and i get distracted #a.z. fell and co.

[beebopboom]

The Three Final Acts

A look into the magic show in the title sequence pt.1

We start outside the theatre and we see a giant turnip in the background and it is raining rabbits which are two tricks that are used as opening acts and then we get our first finale act - sawing in half - all before we even enter the theatre - almost like these are the acts that are setting the stage for what we are about to see - and when we enter we get two more big show stoppers - the bullet catch and the wheel of death with a bunch of cameras watching that weren't outside the theatre

So in that short sequence we get three big magic tricks that all have a common theme of a risk of death and an intense level of trust involved

But we only get the bullet catch this season so where do the other two come in? I think it is meant to show one for each season - so let’s get into it

Season one - sawing in half

Now you are going to have to hear me out for this one because while we do get magic tricks in this season (ex: the card/baby swap and aziraphale's show) this act is obviously not one of them so lets look at the basics of what this trick is - you have a big sharp cutting thing used to separate a person’s legs from the rest of their body, it is a major level of trust of the other person to do their part and a lot of tension that someone could get hurt - this narrow downs which scenes would be appropriate and think I've concluded it's at the airbase when Crowley collapses as Satan is coming and Aziraphale picks up his sword and tells Crowley to do something or he will never talk to him again

Have I lost you? Understandable it’s a bit of a stretch but it does have all the elements - Aziraphale with his sword (big sharp cutting thing) Crowley without his legs and the tension is similar to the bullet catch both of the to afraid to hurt the other - also in the title sequence the "cameras" are not watching this trick - it's under the radar - a surprise act - just like they have been till this day.

Season two - bullet catch

This one is pretty obvious with the actual act in a flashback and it is such a great scene truly - the tension, the vulnerability, the trust -just everything about it amazing - but we can't ignore the parallels in the final 15 and that’s what is mainly important. You have the iconic "aim for my mouth shoot but shoot past my ear” line that is a parallel to the kiss. You have the tension and vulnerability that feel the same and on some level the trust too. But also in the title sequence the audience is full of cameras which could just be a nod to furfur but if it is meant to parallel the final 15 that would imply they were being watched - I’m looking at you Metatron. In all these moments so far it has been Crowley that has been doing the thing - the gunfire, the kissing, the time stopping, the fall - while Aziraphale has been setting the stage, doing the pushing - truly a musician and his assistant

Season three - the wheel of death

Now for what started this whole thing - the last finale act we see in the title sequences - a three person act for our duo - to stay on theme with the rest of the acts it will parallel a big final moment that is putting them and their relationship on the line and we can only speculate on how - but I will explain how the trick works before this ends. So as mentioned before you need three people to pull this off - the knife thrower who does a slight of hand trick to put the knives in their pocket instead of throwing, the target who is strapped to the wheel, and a person behind the wheel who is actually in charge of getting the knives on the target by pulling and releasing knives through hidden gaps on the wheel perfectly in sync with the thrower to make it look realistic or you can just watch a video here

what this all means?

With all these acts you can see some pretty consistent themes and how they can parallel pivotal moments for Aziraphale and Crowley. Just know this next act is truly going to be their biggest and all eyes are on them - who will they bring in to help

edit: pt.2 here

#pls let this make sense #i need to stop writing analysis after midnight #it made sense in my head #idk if i explained it well enough #good omens #good omens 2 #good ineffable omens #good omens meta #good omens title sequence #good omens magic trick #good omens analysis #good omens theory #aziraphale #crowley #aziracrow #ineffable husbands #ineffable spouses #aziraphale x crowley

[sonkitty]

Crowley S2 Hair Post #60

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 4, The Hitchhiker, The Bullet Catch

...

Sideburns Check

The sideburns are long. I think the long sideburns are the "human" reading during the minisode as a reversal compared to the present day.

The theater is a human space Crowley and Aziraphale visited earlier. This scene is the one with the most humans around due to the audience, the performers, and Mrs. H.

...

Brighter Red Streak Check

Crowley has his hat off the whole time, so the more saturated red streak of hair is visible.

Here's an angle we don't usually get to see of it, more from the top, with strong enough lighting to show it:

...

Hairstyle Changes

Well, the previous two scenes had Crowley wearing a hat.

Going back to the last time Crowley was not wearing a hat, this style has a stronger curve inward above Crowley's right side of his face. Previously, it also had a little separation above his nose. Now it looks more uniform with that curve inward, I think.

...

Earthly Objects

(For reference: Earthly Objects)

The main earthly object that's touched is the rifle. The bullet and pamphlet of instructions are also touched.

Aziraphale touches the turnip and the white handkerchief mentioned the last time he and Crowley were in the theater.

There is another sunglasses touch that's a clue about The Sunglasses Trick for determining that this touch does not count, likely because the sunglasses were not fully removed from Crowley's face.

Additionally, Crowley hid his thumb tip when pushing the sunglasses back up over his eyes. With game mechanics in mind, I would look at the lowering touch as a reserve. It's like opening a door only slightly. The opening is small enough to allow that reserve, so that a point is only earned when the sunglasses go back up, not for both touches.

Another significant earthly object is the camera Furfur uses. He touches the picture too.

"Get on with it," is said 3 times, so a Rule of Three is met.

...

For paying attention to the pockets...

The Ladies of Camelot make pockets through their shadows.

Aziraphale is briefly pocketed between two shadows of himself when he takes center stage.

Crowley is pocketed between two empty seats where he sits.

Crowley has a self-made pocket of hair when he lowers his hand and stands up. Instead of one to three overhead lights above his left ear, he actually has one above his right ear, one directly above his head, and one above his left ear. Admittedly, the one above his left ear is the one that is not obscured by anyone's hand when that self-made pocket of hair is visible and Crowley stands.

When Crowley takes out the pamphlet, he reaches into his left front pocket. When he puts it away, he puts it in his right front pocket. For some reason, he switched it.

...

(For reference: The Rainbow Connection Part 4: The Door Trick and The Door Catch)

I said this minisode had clues for The Door Catch, so let's look for clues about The Door Catch.

Various characters, including both Aziraphale and Crowley, have their shoes visible during this scene. That's a clue to the importance of The Door Catch's special Ground Zero cut.

It's time revisit the clue for White as we get the clue for Black, regarding the findable poem that's a quatrain about the non-rainbow shades in the Rainbow Connection mechanic.

The below is copy and edited from my Rainbow Connection link above.

For Black, the miracle blocker blocks the turnip from turning into an inkwell. Ink is black. Black blocks. In this case, black is blocked, but I still think that's the clue. There are other colors involved, including a white handkerchief, but, again, I still think that's the clue for the Black.

For White, with the miracles being blocked, the problem keeps happening while Aziraphale uses the white handkerchief over the turnip. White keeps. He used a white handkerchief earlier when offering to help Crowley.

...

One of Aziraphale's lines is, "Aim for my mouth, but shoot past my ear."

In the Final Fifteen of episode 6, before The Door Catch happens, Crowley kisses Aziraphale. Afterwards, something shiny appears to be in Aziraphale's mouth. That's Crowley's theoretical aim for the mouth. Aziraphale probably removes this something from his mouth when the Metatron enters the bookshop.

In the part where I've said Aziraphale is linked into the Pocket Chain, the human in black, linking him in, does visually pass over Aziraphale's right ear. The pocket user she links to visually passes over both of Aziraphale's ears. Still yet another human passes by, while surpassing a human in a hat near them. By that time, Aziraphale has turned. This third human passes over Aziraphale's left ear. All of these passes are also happening over the Metatron's right ear. So, these are shots though Aziraphale changed position for each one. Interesting choice.

Aziraphale probably places the earlier something back in his mouth when the human pocket user in a white fur coat passes him.

...

Shadows are notable on this stage.

One of the most important elements in The Door Catch is that somehow, some way, the shadows of the green leaves on the back of Aziraphale's coat are allowed to be the Green of the maintained Rainbow Connection.

...

Aziraphale says he will catch that bullet in his teeth with great emphasis on teeth. My current theory goes that in The Final Fifteen, the something that is in Aziraphale's mouth is a shrunken clasp of Crowley's tie because that's a thumb joint to one of the Tied Hands.

When Aziraphale takes a breath before entering the elevator, his bow tie makes contact with the skin on his neck. There is something shiny in the lower middle area of his teeth. That's where I suspect the thumb joint is to allow him a thumb joint for his own Tied Hands (or Tied Hand, if it's just one).

When Aziraphale reveals the bullet during this scene, it's also in the middle of his mouth so touching the middle of the top and bottom areas of his visible teeth.

...

The miracle blocker has purple, and in the Rainbow Connection of the Final Fifteen, if my play is on the right track, there is a skip to Purple and back to allow Yellow to be hit a second time. This factor then allows the Connection to not require a double purple to go back up in the Connection during The Door Catch itself.

...

Crowley's right index finger is separated from the other digits and used for the trigger. Something similar actually happens for Crowley to give Aziraphale the cue to begin for The Door Catch, as Crowley's Door Trick finishes, but the left index finger is used instead. The trigger is Black though the Black in The Door Trick looks to be allowed to change meaning along the lines of Bag, Between, and Begin.

That's all I have for now. If I find more, I'll update accordingly or make a new post. My play is slightly improving over time, but it's only slightly. I'm mostly at my limits with this game.

...

Story Commentary

Crowley did not want to raise that hand for being a gentleman familiar with firearms.

Mrs. H said, "Get on with it, for God's sake," and then nearly got shot!

This scene gets tense, especially with the music.

Mrs. H is censored in saying the "F" word again.

...

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

...

Main post:

The Sideburns Scheme

#crowley #david tennant #good omens 2 #good omens #good omens s2 #good omens season 2 #good omens meta #good omens analysis #good omens crowley #crowley good omens #good omens clues #good omens theory #good omens theories #aziraphale #michael sheen

[fellthemarvelous]

Has everyone in the Good Omens fandom seen Shaun of the Dead?

(I tweeted this and then screenshot it because I had more to say. Also if you haven't seen the Thriller music video by Michael Jackson then you're missing out.)

It is very important to know that if you've seen Staged, you know that Simon Pegg and Nick Frost were both on the show together in one episode. They are just as close to each other as David and Michael are to each other.

Here is when Shaun and Ed finally notice something weird might be going on.

They have no idea why this woman was showing up in their backyard and they just assume she is drunk. They were so drunk the previous night (Liz dumped Shaun) they don't realize they witnessed one woman completely bite a man's head off or realize that the person moaning back in reply to the song they were singing was actually a zombie.

Ed literally took the time to find one of those ancient cameras we had to use before the invention of the smartphone. And we know that everyone with a smart phone these days would be doing the exact same thing if this was happening right now.

But Shaun also has this girlfriend, Liz,

who is always third-wheeling on dates with her own boyfriend because Ed is never not with them. And the truth is that Shaun needs to make a choice because he can't have both, and Liz really loves him back just as much as he loves her, but Ed is basically Shaun's shadow.

Shaun and Ed begin a noble quest to save Shaun's mum (his stepdad was bitten by a zombie so it becomes necessary to kill him too but there is a flaw in their plan because Philip is still alive by the time they get to the house and Shaun isn't going to kill a living person so they have to add him to the car), to save Liz (only to realize David and Di are still with her and they don't want to be left behind so they get added to the tiny car), and to go to The Winchester (Shaun and Ed's favorite pub and the bane of Liz's existence) because it's sturdy with heavy doors and a rifle behind the counter.

And then all hell breaks loose because Philip finally turns into a zombie in the car, and it's Philip's car that Ed stole because he really wanted to drive it because it was a classic and the child safety locks are still on in the back.

They end up having to abandon the car after locking Philip in it.

They finally reach the pub by acting like zombies and hoping the other zombies don't notice.

And if you have never seen this scene, it's the funniest part of the entire movie. It's iconic, and it happens to "Don't Stop Me Now" by Queen. (Warning: this is still very much a zombie movie)

In the end, Ed gets bitten and later sacrifices himself to the other zombies so Liz and Shaun can escape a little easier.

And then at the very end Shaun is letting zombie Ed live in his and Liz's shed and they still play video games together, and even if Ed tries to bite him from time to time, Shaun yells at him and zombie Ed goes back to playing video games.

It still got the happy ending of a romantic comedy, and we never actually learn what caused the zombie breakout, and the zombie's best friend is taking care of him in the shed of the backyard where he and Liz will live happily ever after (we hope).

The movie ends with the song "You're My Best Friend" by Queen.

Also note: Liz's best friend Di is the only other one in their group to survive the zombie apocalypse but you only find out how if you watch the special features.

I think we need to be looking at Shaun of the Dead a bit closer.

And Hot Fuzz ("surrender the angle" is an easter egg from it), also starring Simon Pegg and Nick Frost. It's hilarious too.

The apocalypse is happening all around Aziraphale and Crowley, but we didn't notice because we were watching it through the lens of a romantic comedy. Meanwhile, Hell is overcrowded and Furfur set zombies loose on Earth in back in 1941.

#good omens #good omens meta #shaun of the dead #parallels #simon pegg #nick frost #Youtube

[catsteinbooks]

Good Omens 30 Day Challenge! (x)

Day 3: Favorite Aziraphale and Crowley Historical Era

I love the historical scenes in general so much. Watching their relationship evolve and seeing how they saw historical events is just so much fun.

But 1941 is my absolute favorite. It's so important for their relationship. And it's just full of stuff to love:

the metaphorical connotations of Crowley's walk down the aisle of the church/new name

the ease of communication and collaboration even after a long time apart

the rescuing of the books and Aziraphale's love realization 😍

the eagle statue that Crowley goes back and gets for his flat

"There must be something I can do for you" horny angel

the clothes! Hats! Crowley and his tie!

they BOTH call each other "friend" in front of people!

Aziraphale and his fucking adorable stimming because he's so damned excited to do his magic act

the TRUST between them - *swoon*

Furfur and his silly camera

the photograph. Agh, there is a photograph of them together! Who has it now? Where are they keeping it? It must be SO precious to them!

shades of grey

Yeah, I could go on. This era hits all the right spots for me. And then I imagine a part 3 where they're dancing...

make it happen, make it real, make it happen, make it real

#good omens #go30dc #good omens 30 day challenge #aziraphale #crowley #historical era #good omens 1941

[edosianorchids901]

In the Dark Beside You

@flashfictionfridayofficial prompt - "torn veil"

“Ready?”

No. No, absolutely not.

“Aim?”

Crowley’s breaths raced, his whole body trembling as he leveled the gun at his best friend.

“Fire!”

He cringed away from it, knowing what would come but unable to stop it. A spray of blood, Aziraphale’s screams. And then holding him, pleading with him to stay, apologizing over and over.

But instead, gunfire tore the curtain to shreds. Furfur danced out into the brilliant spotlight, holding his camera high. “Gotcha!”

Clawed hands seized Crowley, dragging him away. Across the stage, glowing white figures surrounded Aziraphale, blocking him from view.

“No!” Crowley screamed, struggling. He clung to the rifle, taking aim at the glowing figures even as the demons hauled him back down to Hell. “You can’t take my angel!”

The gun went off, and then Aziraphale was screaming.

Crowley bolted awake, clutching at his chest as his heart pounded. His breaths raced out of control, and his whole body shook as badly as it had in the dream.

He rushed to the bathroom, wrenched the faucet on, and splashed water on his face. Wet, straggling hair hung across his brow as he stared at himself in the mirror, trembling hands clutching the cold porcelain edges of the sink.

“Just a dream,” he said, trying to convince himself. “It was just a dream.”

But it didn’t feel like just a dream. Once, most of his nightmares about him and Aziraphale getting caught together had seemed far fetched, easy enough to dismiss once he was awake. But now, the thin veil between reality and nightmare has been torn apart by the brilliant flash of a camera bulb, searing a single moment into permanence.

Aziraphale had managed to swap out via sleight of hand, sure. But they’d still been caught, in that moment.

Crowley raked his fingers through his hair, combing it back, and studied himself in the mirror. His eyes, gold from corner to corner with stress. His skin pale, almost grey. Dark circles under his eyes. He shouldn’t go to see Aziraphale, not like this.

He went anyway, almost compulsive. He had to go. To make sure Aziraphale was okay. To make sure he hadn’t been dragged away by those glowing figures of light, taken away to Heaven where they would never see each other again.

Crowley sank into the Bentley, relieved by its dark embrace. He’d only had the car for a handful of years, hardly anything in the sort of timescale that matters to an immortal being, but he loved it more than he loved anything other than his stars and Aziraphale.

He drove to the shop and parked outside, conflicted about whether to go in. The whole place was lit up again, all of Whickber Street, which Crowley found kind of annoying. He wasn’t exactly the sort who abided by the rules—he was a demon, after all—but not getting your neighbors targeted by bombs sounded like cause for an exception. He’d dutifully put the required cover thingies on his Bentley’s lights, even.

While he was brooding about humans and their total disregard for each other’s safety, the shop door opened. Aziraphale waved to him, then bustled across the street. “Crowley!”

Gosh, it was good to see him. Crowley opened his door, although he didn’t get out yet. “What’s with this street, Aziraphale?”

“Hmm?”

“The lights. We’re supposed to be in blackout.”

“Oh, I like the lights,” Aziraphale said as if that explained it. “They’re pretty.”

Crowley frowned at him. “They’re not gonna be pretty if they get targeted by the Luftwaffe.”

“Oh, that won’t happen. I’ve put a sort of… a veil of protection over the whole area.” Aziraphale spread out both hands and moved them down in a sort of a curved motion, like describing a bubble. “Although it didn’t work very well on the zombies, I’m afraid, they tore right through it. May need to make some adjustments. What’s wrong with you?”

Startled at the sudden change of topic, Crowley shrugged and tried to look nonchalant. “Nothing. Just out for a drive.”

Aziraphale pursed his lips. “You are silly, you know. Coming here like that, without a hat, your clothes all rumpled, and then claiming nothing’s wrong.”

“Oh.” Crowley hadn’t realized he’d forgotten his hat. He reached up, trying to finger comb his hair into order. But Aziraphale was right—there was no real point denying it. “Nh, just a nightmare.”

When he didn’t get out, Aziraphale went back around the Bentley and climbed into the passenger seat. He gave Crowley a worried look. “About me?”

“About us.” Crowley gulped, chest tight again. “Furfur catching us. And then you got dragged off by angels, and I…”

His hands started to shake again, violent trembling. Aziraphale reached out, slowly, and captured the one still resting on his thigh. “I’m sorry, my dear. That must have been scary.”

Crowley grunted in agreement, but didn’t respond otherwise. He was a demon, after all. Not supposed to get scared by anything, not even being dragged back down to Hell for eternal torture, not even being forever separated from his only friend.

He was scared by it, bloody terrified. But here in the dark of the Bentley, holding Aziraphale’s hand and gazing down the incongruously lighted Whickber Street, it was easier to tell those dreams apart from current reality.

As for future reality, he’d just have to hope their luck would hold out.

#good omens #ineffable husbands #crowley #aziraphale

[ineffable-bisexual]

Final episode of Season 3 will have the kiss that the husbands deserve, and all of Heaven, Hell, and humanity will witness it in some way.

Humans suddenly feel an overwhelming joyful love for everyone, their friends, enemies, and recent acquaintances. Nebulae are visible in the sky at very close distance to Earth, and flowers grow to gigantic sizes and in the most brilliant colors, but mostly yellow. The Bentley is playing Queen's "I Was Born to Love You" at an impossible volume.

The Archangels Michael and Uriel look disgusted, Metatron rolls his eyes before promptly being smited fired by God, and Saraqael is grinning like they just won a bet. Muriel and Jesus do a fist bump.

Dagon is visibly throwing up, Shax kills Eric (again), and Furfur is near tears (he had a wee crush, it's my hc lol). Hastur and Ligur come back from a long holiday after Ligur was brought back from destruction (he was I won't debate this I love my boy) and walk in looking like that Community meme and then immediately walking out (they don't know shit so why make it worse).

And then the camera zooms away from all the miracles happening to a shot inside of a house where Neil Gaiman is writing a new book. He pauses, looks out the window, and then looks at the camera like he's on The Office.

Camera zooms back to Crowley and Aziraphale and all they notice is the other. They're both trembling in their embrace from the rush of emotions they've been holding back all these millennia. They go in for another kiss and then

VAVOOM

We're in Sussex, where Crowley is lounging in a hammock next to a big vegetable garden. He wakes up and goes into a cute cottage, goes into the den to find Aziraphale reading in his old brocade chair. He comes up behind him, leans down, and kisses his cheek. Aziraphale turns to him and they share a smile.

They're free to love, they're free to do what they wish, they're free to be completely honest with each other and themselves.

Aziraphale notices the lovely day outside. "Could we go for a drive?"

Crowley of course relents to those angel eyes and shrugs. "Sure...why not?"

Cut to the Bentley, black with a yellow roof and doors, playing "Good Old Fashioned Lover Boy". Credits roll and the Good Omens Fandom collectively explodes, the end.

#i can dream right??? #season 3 pls #renew good omens #good omens #ineffable husbands #crowley #Aziraphale #head canons #im sorry this is so silly #actually no im not lol

[postsforposting]

az says he did the apology dance in 1941, but we don't see it.

the scene in s2 reopens at the church just before the bomb falls, but it's cut off, a huge chunk is missing compared to s1. we could believe it's only because they're just trying to reference the previous season, not pickup where we left off, but i don't think that makes sense--everything is on purpose. even in the bits we get, things are changed, lines cut out.

you don't mention a dance and then not show it during the scene it's supposed to appear. that's not just "there's a whole extra season yet", like the gabriel statue, this is a blaring siren of a Clue.

this is also the flashback where they have the "shades of gray " discussion. if metatron is editing stuff, that's pretty shades of gray and blurring the edges. this flashback starts with shax bringing up that furfur had tried to use the 1941 photo of the magic act to climb the ranks, in the conversation in the car between az and shax, where az also says crowley can't be hiding gabriel because "where would crowley put him", as in, az knows full well that crowley isn't living in his former flat.

the camera also shakes terribly during the whole flashback. it does not do this in any of the other ones. it can't be because we're seeing this as az's memories, because the others are also his memories--az narrates the resurrectionists one. the camera does start wavering a little bit in the middle of the resurrectionists minisode, at 23:20. it's not much, not nearly as dramatic as the zombies, but it's definitely not steady. it does more shaking when they take morag's body to dalyrimple at 28:09 and through the end of the flashback. 1941 is the most modern/lasted dated of the flashbacks, so perhaps, if the book of life editing theory is true, then the memories are being destabilized and the shaking is evidence of that--the shaking would be how much editing is done on the memory itself, and how much cumulatively before the particular memory, results in it no longer making sense.

another weird thing that keeps happening is the use of "sunshine". in s1 gabriel uses this against az when they're trying to murder him with hellfire. it shows up several more times in s2, against eric the disposable demon said by shax, and said by crowley when shax is taking over people on the street to find gabriel just before the attack on the shop.

#good omens #book of life

[pnf-lover98]

Some thoughts on Good Omens season 2

Last night I finally finished watching the new Good Omens season, and now that I’m officially done screaming about it, I would like to take my time to share some thoughts on this much awaited season 2. Brace yourselves guys, this is going to be a long boi.

Thank you so much for this new adventure, @neil-gaiman, and for making come true my impossible dreams of having Beelzebub and Gabriel canonly together! 🙏

When I first read that there was going to be a season 2, my immediate first reaction was ‘oh no’. I’m generally not a fan of the word “sequel”, because you can never know if a ‘part 2’ is going to be the best thing ever, or if it’s going to be the death of what you used to consider a masterpiece. I love the first season to bits, and when I bought and read the book right after finishing watching, I found the original Good Omens to be just as amazing as its series version. There were scenes that I liked more the way they were written in the book, and some that felt better in the show, but book and series were both amazing in their own ways. And I surely didn’t want a sequel to potentially ruin all of those good memories. But when the first news started to come out about this GO2, I started to feel some hype.

After around 1 year spent in the fandom, and a total of 4 years spent loving the book/series, when I actually got to watch the new season I couldn’t help but feel disappointed by the vast majority of the episodes. Because it looks exactly like the first season, with the costumes, and the sets and everything, but it feels nothing like it.

The first Good Omens did so much for me, also in terms of helping me fight my personal demons. You guys probably don’t know much about what I am like as a person, as I pretty much only share my art here on this blog. But in real life, I have a fairly awful high sensitivity to blood - and specifically if the blood is associated with scenes of violence or where a character is in pain. I have little to no barriers to defend myself from what I get thrown at in movies and media, as I have nearly no ability to put up walls between me and the characters I am looking at. If someone is in pain, then to some extent I’m in pain as well, and if I come across a particularly violent scene, it usually doesn’t take much for it to show up somewhere in my nightmares. Back when the trailer came out for the first season, it took me two months to finally decide to give in to the temptation and watch the show on Amazon Prime. Because this was a series with real actors (I usually trust cartoons more because it’s a safer space) that revolved around angels and demons, no less! And every time Crowley looked deep into the camera, my mind was taken back to Bipper’s snake eyes from Gravity Falls, and on how many nightmares and bad memories the GF fandom gave me when fans aggravated what Bill Cipher did in canon. Bill was such an evil demon, why would I have ever wanted to risk watching other demons in action? But when I did watch the episodes, I saw just how safe GO was. The worst thing that those demons, who called themselves to be so evil and so cruel, did was to set fire to a convent, show their sharp teeth or turn into slugs. There was no blood, no form of violence, no guts shown, no monsters that could make me feel uneasy. And after getting acquainted with Crowley as a character, his snake eyes eased the discomfort I felt towards Bipper’s. By the end of the series, I had no issue looking at him ‘eye to eye’, the bad memories replaced by new positive ones.

What I came to feel towards Good Omens was complete, whole-hearted trust. GO wasn’t going to hurt me, nor in the book nor in the show. So, the first and most important thing that hurt me (in a completely personal way) in this season was just how everything became drastically more bloodied. How gruesome Furfur’s video looked and sounded, how odd it was to have brain-eating zombies with clothes covered in blood of their victims, how terrifying the Resurrectionist guy was. I straight up skipped all of the part where the guy tells Aziraphale and Crowley about his job, because the single sentence “criminals’ bodies were no longer enough” sent a massive alarm ringing in my head, making my heart sink. I knew where things were heading to, because several months ago I came across the same kind of horrible topic in some sort of documentary - and the concept of what was said that day so many months ago hit me like a train, leaving me sat up in my bed at 5 am, concretely dreading the possibility to fall asleep again and have another bad dream. Judging how sharp of a moral U turn Aziraphale did on the whole ‘digging up bodies’ topic, stating that it 'relieves human suffering', I’m guessing that my decision to skip was the right choice. And all of that gruesome stuff, that to me couldn’t help but feel completely uncalled for (Did Crowley really need to tear away the mask of a demon who had a wounded/decomposing chin to find out that they were all demons, when he had a minotaur-looking guy right next to him?) completely destroyed that trust that the first season created in me.

But aside from this, the rest of the episodes didn’t really convince me also because I felt the pacing to be very uneven (episode four was 40 minutes of Aziraphale and Crowley’s shenanigans, with no mention of Gabriel and his yet to be solved mystery, and no screen time for Nina and Maggie either), and this unevenness often made the scenes boring to watch. Because as much as I like Azi and Crowley’s shenanigans, I would have much preferred to have them more evenly intertwined with their present situation, instead of having long chunks of the episode that make you forget about the rest of the characters and then a sixth episode so intensely filled with stuff. None of the new characters that were introduced really lit up a spark of interest in me. If you ask me who I would like to make fanarts or write stuff of, I would tell you none of them. Nor Shax, nor Muriel, nor Furfur nor the smallest appearances like the eyepatch demon. But I guess it’s going to take some time for me to see if I will really make no fanarts of anybody, because it took me a rough month after the first season before I took interest in Beelzebub’s character and started making fanarts of them.

Talking about my beloved Beelz, the one single character that I liked the most in S1 (and in the Tadfield Airbase scene in book Omens)... I didn’t like Shelley Conn in Lord Beelzebub’s role. I have nothing against her as a person, or as an actress, it’s just that this Beelz looked and moved and behaved nothing like the Beelz I spent 4 whole years liking and being familiar with. Even if she did grow on me a little bit in the last episode.

There were still amazing parts in every episode, it’s undeniable. David Tennant’s acting remains top tier - from his facial expressions, to his funky walk up in heaven. It was nice to have some of the original crew back (I was particularly delighted to have Dagon and Eric back, for example!), and it was a very fuzzy and nice feeling to have so much of what I used to see every day across the fandom represented in canon screentime. We saw Crowley making stars and being a high-ranking angel in his past (much like the ‘Crowley was Raphael’ theory that I’ve always liked), we saw Beelz turning into swarms of flies, we got the hall of Hell where the damned get assigned to the various brackets and it looked exactly like I envisioned it to be…

… And above all, I got an impossible dream come true. All through these past 4 years, I’ve been a major Ineffable Bureaucracy fan. What started out as a ‘Why not?’ turned into me writing over a dozen fanfiction, drawing several fanarts of them, coming up with several possible backstories that could lead them to be together eventually. A small ‘why not?’ turned into me having the time of my life for over a year, projecting onto those two impossible lovers all of my dreams of the perfect romance I never had in real life. But we were such a small fraction of the fandom - the most popular of the minor ships, according to someone in the fandom that made a pie chart based on the number of Ao3 fics and of fanarts for each ship, but still a rough 3 percent at best - and deep down I knew that there were no chances of us getting canon. I was disappointed by this thought, of course, but I eventually got to be fine with it; maybe the best part of our ship was that, not being canon, each fan could build an entirely different story for Gabriel and Beelz. Maybe the best part of our ship was this huge choir of harmonizing and dissonating voices.

I went into this season 2 with a completely relaxed mindset about this. “It’s lost or it’s found”, I told myself; if we’re getting something it’ll be a miracle, but if we won’t get anything it won’t be the end of the world. But having such an impossible ship to become canon so out of the blue, and with such a sweet series of clips…! I could see so much of the old fanarts in what we were shown; how many of us (me included) have had them hanging out in bars on Earth? And I still remember clearly how there was this one artist who drew one comic where Beelz had a fly coming out of their mouth like canon Beelz did! Seeing those flashbacks unfold brought me an unmeasurable sense of joy. The kind of squealing with skipping up and down, kind of joy no less. “If this is a dream, don’t wake me up!” I told my computer screen, as I kept my hand covering my huge grin in disbelief. And out of every possible backstory that could have led them to get together, what we were given was very close to what I would have personally chosen for them, and to what some of my favorite fanfictions chose for them.

In conclusion of this long rant… This Good Omens 2 was a big rollercoaster of emotions, for me - but I would dare say that it was like this for everyone who watched it. And you can be sure that, as soon as I’ll set a foot down from the rollercoaster’s cart and my head will stop spinning from the fear and the thrill and the overwhelming joy of the unexpected, I’ll start making new Good Omens content. Thank you to everyone who took their time to read everything.

#good omens #good omens 2 #ineffable bureaucracy #Speaking some thoughts

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Method of Reducing the Content of Fuel Oils Activation of the Alcohol Liquid

Authored by  Dunaev AV

Abstract

Environmental problems relate to food and wine-vodka products in terms of eliminating them from toxic substances. In this appears, although not cardinal, the possibility of a simple method to reduce the content of fuel oils in alcoholic liquids. This was tested for mechano-chemical activator liquids according to the Russia patent no 2411074. In it there is a destruction of organic substances and long-chain molecules of heavy oils are converted into light, safe compounds. So, in the activated «Cognac» acetone, ketone, isobutyl acetate and 2-butanol are completely removed, ethyl acetate is reduced by 2,3 times, six components of oils are reduced by 11.7%, two components of complex esters by 8 times, and two components of alcohols increased by 17.9%. Similarly, in conventional vodka acetaldehyde and acetone are removed, aromatic alcohols were less than 4 times, that of the ketone at 5.9 times. In wine «Cabernet» fuel oils reduced by 2,37 times, in white dry wine-3 times, and sweet fortified wine-100 times. Thus, the content of harmful substances in alcohol can be reduced by activator under the patent of Russia no 2411074.

Keywords:Alcoholic liquid; Fuel oil removal; Mechano-chemical activator

Introduction

Since prehistoric times, it is known to ferment sugary and other materials to alcohols, extract harmful compounds from the fermented product and preserve useful ones. However, even in the industrial manufacture of noble beverages (cognac, brandy) by distillation, neutralization, purification and other methods, harmful substances are not completely removed.

During the primary distillation of fermented products, along with alcohol, a mass of harmful substances, including poisons: methanol, fuel oils, and other untreated compounds, is also distilled. The boiling point of alcohol is 78.4 °C, and in fermented products there are liquids that boil at lower (methanol, acetone, acetaldehyde, etc.) and at higher temperatures (amyl, propyl, isoamyl and other alcohols, furfural, acetyl). Many of them are poisonous and dangerous to humans. However, during the processing of fermented products with the separation of fractions, with the removal of the most toxic impurities in the final product, there are still quite a lot of harmful components called fuel oils. In a high-quality alcoholic liquid should contain as little fuel oils but should be kept harmless substances. The approximate content of fuel oils in some products (Table 1).

Fuel oils contain high-molecular alcohols, which are difficult to break down due to the complex composition of the human body. Therefore, the work human liver is complicated, the decontamination of toxins is slowed down, as from the management of the extended. To break down substances, they must be oxidized by blood oxygen. But the longer their molecules are, the more oxygen they need. When using large doses of alcohol blood supply is difficult, oxygen is not enough, so the toxins are not completely oxidized. In this case, things are formed more poisonous than methyl alcohol. With a large content of acetaldehyde, the possibilities of the liver to neutralize ethanol are sharply reduced, its proces-sing is delayed, and the concentration of acetaldehyde increases several times due to its further formed during the decay of ethanol.

In General, the product obtained after distillation of the initial fermented and fermenting substances contains impurities divided into groups:

1. Hats with a boiling point of 78.4 °C below: acetic-butyric ether, acetaldehyde, acetone.

2. Intermediate, as main components.

3. Tail (fuel oil) with a higher boiling point and lower volatility than ethyl alcohol: monoatomic alcohols: propyl, isopropropyl alcohol and its isomer, propanol-1, amyl, isoamyl, isobutyl and methyl alcohols, furfural, acetyl, ethyl acetate, ethyl butyrate and other toxic compounds; the most dangerous of them isoamyl alcohol (isoamyl alcohol C5H4OH), giving up to 60% of the volume of fuel oils.

In fuel oil are also found: n-propyl, n-butyl, hexyl alcohols, diethyl ether, methyl acetate, methylpropionate, diacetyl, as well as acids: acetic, propionic, isobutyric, n-oil, isovalerian, n-valerian and more than 40 substances. And Isabella grapes during fermen-tation also produces hydrocyanic acid.

The largest amount of fuel oils produced from grain raw materials, when the alcohol raw them of 0.2-0.4%. The content of fuel oils in vodka is limited by standards: for vodka «special purification»-no more than 15.0mg/l, for vodka «extra» up to 10.0mg/l, for vodka «Lux»- 5.0mg/l. In 0.5 liters of «normal» vodka on average contains 4ml of fuel oil. Especially dangerous isopropyl alcohol, which as its «cuts» a person, turns off consciousness, and possible death. For the average person, 1.5 liters of ordinary vodka is enough to get a lethal (13-15ml) dose of fuel oil.

Methods of cleaning from fuel oils: It is mainly used rectification of liquids, i.e. their separation into components (fractions) substances with a close boiling point. To do this, the liquid is heated to the boiling point and evaporation of the first fraction, it is kept heated and the first fraction is extracted by vapor condensation. Further, the temperature for evaporation of the second fraction is increased and it is similarly extracted as a useful raw material. After that, the distillation can be stopped.

The industrial method of cleaning from fuel oils is carried out in distillation columns in vertical cylindrical vessels of constant or variable cross section, equipped with heat and mass transfer devices and auxiliary units for the separation of liquids into fractions. The heated liquid is fed into the column from below, the light fractions are concentrated in the upper part of the column, and the heavy ones with a higher condensation temperature are concentrated in the lower part. Lack of rectification is the duration, complex, very сu-mbersome installation, high costs of thermal energy.

In private, alcohol purification is used by entering 3-5g/l of potassium permanganate (KMnO4) into them, settling for up to 10 days, precipitating a dark precipitate and draining the liquid without sediment. Enter also on 50g/l of wood activated carbon of industrial brands, defend liquid of 20-30 days, filter through paper or cotton filters with the activated carbon. Apply and freezing harmful substances, their deposition and draining the liquid without impurities. These long-term processes require freezers and other devices, special substances.

Innovation in alcohol purification:Tambov state technical University to clean alcohol from fuel oils tested combined static mixer-activator according to Russian patent No. 2411074 [1]. The peculiarity of the activator is that: it carries out mechano-chemical dispersion of long-chain organic liquids, passed through it [2,3]. The use of the activator simplifies the process, reduces the content of sea-wool oils by at least 10-13%, some toxic substances in simple waters up to 3 times, esters by at least 8 times (Figure 1).

In the cylindrical housing 1 of the activator there are sections chambers I, II, III. In the section of the chamber I mounted the screws 2 and 3. The screw 2 is adjacent to the inner surface of the housing 1 and has a right side or left side winding. Inside the screw 2 with a small gap mounted screw 3 with the opposite winding. Inside the screw 3, also with a small gap, a rod 4 is mounted, combined with a disk 5 having a cone 6 on the reverse side.

In disk 5 microchannels 7 are made, the centers of which are located in the gap bet-ween the screws 2 and 3. For a disk 5 is mounted the second (II) cavitation section 8, followed by section- III camera, which features a lattice design 9 with a narrow slit width of 0.1-0.5μm, At the beginning, the liquid is controlled on a chromatograph for the initial content of harmful substances, then heated to 25-28 °C. Setting the flow rate of the 10cm/s, pump it through the activator. In it, in the first chamber, clusters of fuel oils are rubbed with vortex counter flows between the external and internal screws. Then the liquid is injected through microchannels into the second vacuum chamber rarefaction, where the molecules of the oils are dispersed cavitation. Finally, the liquid is pumped through the broken slots of the structure 9 of the third chamber, which finally disperse and activate the molecules of fuel oils and provide further activation of alcohol for a long period.

Therefore, liquids are kept for up to 30 days, the third time they control the content of fuel oils and when they are reduced by at least 10%, they are given a liquid for processing or a finished product. Activation of alcoholic liquids not only reduces the content of fuel oils, but also increases the content of useful components in them.

Examples of testing method: 21.02.2018 «Cognac» checked on the content of organic components on the gas chromatograph «Cristallux-4000M» (with column HP-FFAP 50 mx0/32x50um and detector PID-1) in Tambov certified laboratory of forensic and medical examination. Then the drink was pumped through the activator and similarly checked the content of the components (Tables 2,3).

18.04.2018 vodka production was similarly tested on the content of toxic components, after which it was pumped through the actuator and checked again (Table 4, 5). From Tables 2-5 it follows, that activated the «Cognac» acetone, ketone, the isobutyl acetate and 2-butanol is completely removed, ethyl acetate is reduced in 2,3 times, the six components of oil decreased by 11.7%, the two components of esters 8 times, and the two components of the alcohols increased by 17.9%. Similarly, in vodka acetaldehyde and acetone are removed, aromatic alcohols were less than 4 times that of the ketone at 5,9 times.

Other testing results

1. In the wine «Cabernet» after activation the content of fuel oils decreased from 2,3mg/dm3 to 0,971mg/dm3, i.e. 2,37 times.

2. In white dry wine-3 times.

3. And in sweet fortified wine-100 times.

Acknowledgment

None.

Conflict of Interest

No conflict of interest.

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Air Quality Testing For Mold And Mold Remediation

Mold testing professionals rely on several sampling methods to precisely identify species and subspecies of fungus as well as other important factors for targeted remediation such as stage in growth cycle, tendency to spread and toxigenicity. Do-it-yourself or home mold tests cannot provide any of this information. It is also impossible to identify fungi based on appearance as there are over 100,000 different types of mold, many of which appear similar or change in color and texture depending on the stage of the growth cycle. For these reasons, United Water Restoration recommends hiring experts who perform mold remediation air quality testing. There are three major advantages to this testing method, which involves obtaining and submitting air samples for lab testing, analysis and accurate identification.

1. Capturing Off-Gases and Spores

Air samples can be more affordable and useful than bulk or surface samples when it comes to determining the extent of an infestation, stage of mold growth and concentration of airborne spores. This testing method picks up on the full spectrum of microbial volatile organic compounds and airborne spores present at the time and place where the sample is taken. Occupants of a structure are more likely to be exposed to these particles, and spores may spread an infestation throughout a structure if conditions are conducive to mold growth in locations other than the primary site of an infestation.

Testing for mold through air quality is also ideal for situations in which more than one type of fungus may be growing or limited access or visibility are factors. Although expert mold testing and analysis can be costly, the detailed results are worth the investment. Home mold tests may seem like a better deal than professional air quality testing, but these kits are notorious for returning false positives and do not provide detailed information about mold species. Among professional mold testing methods, air quality testing surpasses bulk and surface sampling as the best way to detect whether one or more types of fungus are present based on the fewest samples. Professional testing and lab analysis can cost several hundred dollars, but this expense will likely amount to money saved on imprecise testing and remediation methods.

2. Identifying Active and Old Growth

Mold remediation air quality testing that captures mVOCs for analysis is useful for determining the life-cycle stage of the fungi present in a structure. Fungus only releases off-gases when digesting and metabolizing nutriment. If these chemicals are present in an air sample, it is likely that excessive moisture is currently supporting the proliferation of mold somewhere in a structure. Thermal cameras and other moisture and leak-detection technology may be useful for tracking down the cause of a hidden mold infestation.

The particular gases that are detected through this testing method can shed light on the species and subspecies of mold and be helpful for determining whether a fungus is toxigenic. Some of the most common mVOCs include acetaldehyde, butanoic acid, camphene, camphor, furfural, geosmin and methanol. Unlike bulk or surface samples, air quality testing can also indicate whether dried spores from a prior infestation are still capable of spreading. Dry spores can detach from surfaces and become airborne more easily. Even if an infestation is not growing, it may still be capable of spreading spores to parts of a structure where conditions can sustain growth.

3. Implementing Results During Cleanup

A remediation effort is more likely to be successful if cleanup professionals have accurate information about mold species at the start of the process. Air quality testing can provide a more complete picture than isolated bulk or surface samples. Bulk or surface samples may be helpful for isolated colonies or infestations but may not indicate all of the types of old and new fungal growth that are present in a structure.

United Water Restoration connects property owners with mold remediation air quality testing services. After air samples have been gathered and submitted to a lab for analysis, it may take days for results to come in. It may be possible to take mitigation measures to limit ongoing water damage during this time. When detailed results are available, this information will be invaluable for identifying the best approach to remediation. It may take days or weeks to remove mold from a structure.

The post Air Quality Testing For Mold And Mold Remediation appeared first on United Water Restoration - Restoration Blog.

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