leftduck9986

[leftduck9986]

ATTENTION

If you see this you are OBLIGATED to reblog w/ the song currently stuck in your head :)

[leftduck9986]

DAVID TENNANT as The Doctor DOCTOR WHO | “The Star Beast”

[leftduck9986]

Isopraxism

Isopraxism aka Limbic Synchrony aka Mirroring: Intuitive, instinctual, human brain process whereby humans unconsciously mirror the speech patterns, postures, and/or expressions of those with whom they connect and often spend time. Similar behavior exists in the animal kingdom. In a human relationship, especially deep friendships and romantic relationships, it is a sign of firm trust, deep connection and understanding, and a strong, emotional bond.

Example:

Crowley's "well" + Eyebrows expression, seen in multiple scenes, is one of his default responses, yes? We see it in Eden, like below, and in The Dirty Donkey in S2 and even when Crowley does it in while in Aziraphale's body during the body swap.

This Crowley default response is just the kind of expression and speech pattern that a trusted partner might unconsciously pick up after years of time spent bonding with him...

...which is why it's not surprising when Aziraphale, praying in S1, suddenly "well" + Eyebrows...

[leftduck9986]

Hell's Bad Books

From the Good Omens book :):

He'd taken the opportunity to reread Aziraphale's notes, and to thumb through Agnes Nutter's prophecies, and to do some serious thinking.

His conclusions could be summarized as follows:

Armageddon was under way.

There was nothing Crowley could do about this.

It was going to happen in Tadfield. Or to begin there, at any rate. After that it was going to happen everywhere.

Crowley was in Hell's bad books. *Not that Hell has any other kind.

Aziraphale was—as far as could be estimated—out of the equation.

All was black, gloomy and awful. There was no light at the end of the tunnel—or if there was, it was an oncoming train.

He might just as well find a nice little restaurant and get completely and utterly pissed out of his mind while he waited for the world to end.

And yet . . .

[leftduck9986]

So I'm finally reading Terry Pratchett's biography and...

Has anyone analyzed the connection between Pratchett's kids' books and Good Omens???

The Johnny Maxwell series has...

Time travel to the Blitz in 1941

Ghosts/dead people deciding to do away with Judgment Day and just make the decision themselves

A game called the Journey to Alpha Centauri

Anyone??? I'm gonna dig up copies and read 'em and report back if not! I'm going to go through all of Pratchett's work anyway and take notes lol 'cause it's SO clear most of Good Omens was either written by Pratchett himself like he says in that interview, or directly taken from Pratchett's other works.

[leftduck9986]

S2E1 - The Arrival Write Up P7 - the Present Day from Crowley’s departure from the bookshop to his return to it

Let’s see if we can plough through this next section to take us up to the Apology Dance, shall we? Because that seems like a pretty decent place to place a marker and hopefully finish up the episode from there.

There are some minor points I want to pick up on in the scene depicting Crowley’s departure from Soho, largely around this line of script:

CROWLEY: Just breathe, that’s what humans do. Then they count to ten before they do anything stupid.

Perhaps he just says this because it’s something that he’s learned about humans during his time on Earth, but I find this one interesting because it surfaces the possibility that he consciously engages in actions that would make him more humanlike. We saw quite a bit of symbolism in the first season to suggest that his non-physical assets (morals, ethics, emotions, etc.) were more closely aligned with human values, but I don’t think that was a conscious decision on his behalf. The soundtrack gives us some extra layering here in the reflexive growls emanating from the demon, which are distinctly not humanlike, but clearly not something he’s really able to control. And talking of doing things that are not in his control, his anger is having quite the effect on the area around him – check out the sky in the background here:

The whole sky (which, prior to his entry into the bookshop, was clear and bright blue) is filled with rolling, red-tinted clouds. The light in the whole street has darkened and developed that same red tinge. This is quite the tantrum! I do love the fact that he’s so furious he can’t even perform the act that’s supposed to be calming him down (counting) but seems to feel the need to include a token element of his attempted actions by simply screaming the goal number as he reigns unholy fire into the street. I don’t think I’ve ever been so angry after an argument with a friend that I feel like I could have invoked this atmospheric change. My husband on the other hand…

Possible Easter egg in this scene – the music playing in the coffee shop as Maggie and Nina watch Crowley smoking outside has reverted to Bohemian Rhapsody. Here are the lyrics that would be playing (in the non-instrumental version) as Crowley summons his fury storm:

I see a little silhouetto of a man Scaramouche, Scaramouche, will you do the Fandango? Thunderbolt and lightning, very, very frightening me

Sorry, did I say possible Easter egg? Who am I kidding?!

One last musing on this scene: is it really possible that Aziraphale missed everything that was going on outside here? Yes, he was in the back room as Crowley stormed out, but I can’t help but think that he would have felt something was amiss.

I don’t think I have much to say subtext- or hidden meaning-wise about the scene in Heaven, but here are a couple of little titbits of information that are dropped into the dialogue that are perhaps worth noting:

There are no plans to replace the Supreme Archangel as far as Michael is concerned at this point in time.

The position of Supreme Archangel is always supposed to be filled.

The formal stance at this point is that Gabriel is “absent” from Heaven.

Muriel’s position is a 37th order scrivener (or no-one as they term it, which is a little bit heartbreaking).

Muriel appears to be incapable or unable to say the word “Earth”, choosing instead to say “down”. It is not clear whether this is because they don’t want to say the word, is afraid to use it, or if their understanding is that it shouldn’t be used around higher-order angels.

Returning to something I touched on in an earlier write up, we’re introduced to another tartan-wearing angel in Saraqael. Her tartan touches are subtler (and of a different pattern) than Muriel’s, but evident nonetheless.

The matchbox has been identified as a “material object”, which apparently is impossible in Heaven, and the angels are all clearly uncomfortable with its presence.

I had pondered about how we distinguish between the matchbox being a material object and the other apparent material objects in this scene (Muriel’s files or Saraqael’s chair for instance. Or all of their clothes…), but Uriel later refers to it as an “earthly object”, which might explain that one (the matchbox being the only one of those items that originated on Earth).

There is one question that screams out in my mind when we see Crowley returning to his car, and it’s this: where has he been since storming out of the bookshop? It’s full dark in this supposed back street of Edinburgh London (it must be London, you can see The Shard and The Gherkin all lit up in the background 😉), but when he left Soho, it was full daylight. And when I think about it, he left Soho walking down the road away from the Bentley, which you can see was still parked outside the coffee shop here:

All of which means he must have returned to Soho at some point, if for no other reason than to pick up the Bentley (which would have been in full view of the bookshop for Aziraphale to see that he was or wasn’t still in the area). And yet, when we see him enter this scene, he hasn’t just arrived at his little parking spot because at the beginning of the shot we see him approaching the car. It’s probably nothing, just convenience of stage directions to get him from one place to another, but it just makes me wonder. Wherever he’s been, it’s clear he’s not angry anymore:

He just looks exhausted and sad, bless his little cotton socks. What we can also see here is that there is a fly already on the car windshield as he gets into the Bentley. Not only that, the plants in the rear seat appear to be trembling ever so slightly. It says a lot to me that he doesn’t pick up on either of these things, because if he had, he might have known that Beelzebub was already waiting for him to return. And she makes an interesting observation almost immediately in this next scene – Crowley can try to invoke their so-called “generalised understanding” as much as he wants, but it’s in her power to renege on it at any time she chooses. It makes me wonder why it is that she hasn’t done so already, or why Heaven haven’t done something similar to Aziraphale, but ultimately I’m of a mind that they just thought their existences were better off without a wayward angel and/or demon in them.

We had some subtextual reminders of the winged forms of both Aziraphale and Crowley in the bookshop scene previously, but this scene has a similar subtle reminder of how Crowley is perceived in Hell – as a demon.

Just like with the coffee shop music earlier in the episode, I can’t believe that this prop and this camera angle are coincidental. Nor do I believe that Crowley’s repositioning of himself is anything short of a deliberate attempt to disassociate himself from that image.

I just want to make a quick note about an odd little facial expression we see from Crowley immediately after Beelzebub says Gabriel has gone missing.

It happens pretty quickly, so the gif has been slowed down. I’ve seen some theories arguing that this is potentially Crowley catching a fly and storing it in his cheek, which in fairness has a lovely symmetry with the bullet catch trick. I don’t think I buy that theory for a couple of reasons. Firstly, I can’t see or hear a fly/the cessation of a buzzing fly that would tie in with one being secreted somewhere. Given that every time a fly has been a Clue in this episode up to now, its presence has been marked by a buzzing in the soundtrack, so that wouldn’t be in keeping. Secondly, for Crowley to do this would require him to know that one of Beelzebub’s flies can be used to keep memories in, something which I don’t think we get any hint of. For my money, I think this is just a tic – he’s reacting to something that’s been said that makes him nervous, anxious even (that woman screaming in the background probably doesn’t help). I know, I know - my interpretation is a lot more mundane and less interesting, sorry! I just didn’t want that little moment to go by unmentioned. With all of that said, there are a couple of other interesting facial expressions we see whilst Beelzebub is making her pleas:

I’m still of the mind that these are nervous tics, but please feel free to try and convince me otherwise 😊

I have just a couple more things to say about this scene, but they’re all fairly minor:

Crowley looks away when Beelzebub tells him he can name his price. It feels odd to me that he does this – perhaps this is just a subconscious way of saying that what he wants more than anything at this point is to get out of Hell?

The sound of the woman screaming in the background seems very deliberate in its timing to me. It usually kicks in just after Beelzebub has delivered some sort of blow about how terrible the situation is with Gabriel’s disappearance, so it makes me feel like this might be an aural representation of Crowley emotional state of mind at those points.

Beelzebub initially asks Crowley to help “us” (i.e. Hell) to find Gabriel, but changes to the first person singular when she doesn’t get what she wants – it’s a pretty obvious Freudian slip out of desperation.

The situation with Gabriel is referred to by Beelzebub as “this affair”. Lovely little word trick at play there.

Beelzebub finishes their discussion with an insistence that Crowley go to her specifically (not Hell, or another demonic officer of Hell) before anybody else if he hears anything.

Here is where we have our first reference to the Book of Life, and how it features into the storyline. On my scant Googling, I learnt that this is an actual tenet of Christianity. Interestingly (again, SCANT research – apologies if this is incorrect and/of causes offence to anyone) it contains the names of people who have put their faith in Jesus, so I think we could put a tick against Aziraphale’s name on that count. More interesting than that though is that, according to the scripture, Jesus himself made a promise that names already in the Book of Life would never be able to be fully removed from it. Blotted out, yes, but not fully erased. And so, we have a couple of options to consider here: either the GO Book of Life performs a different function than that written in Christian scripture, or somebody in Heaven is trying to undo Jesus’s promise (and the fact that Beelzebub uses this as a threat to Crowley suggests that she, and Heaven, know a lot more about what’s going on than they’re making out). I think it’s probably the former – it certainly won’t be the first time in the show that the finer details of the plot take a slightly different path to the real-life templates that they’re based on. Insofar as how this new development relates to our plot, I think it’s interesting to see that Crowley, who clearly has heard of the Book of Life before, believes this be a big bluff, and I actually don’t think Beelzebub is convinced of her own reply that it’s a real thing. What I don’t think we can argue with is the panic on Crowley’s face when he realises the consequences that could be in store for Aziraphale (and the demon himself) if they continue to help Gabriel.

I don’t know what’s going on with the character setup for Nina and Maggie – does anybody else feel like we’re really not given a lot of opportunity to like them? I’ve been pretty vocal about my initial feelings about Nina, which is definitely not helped by this scene, where she clearly judges Maggie for her life choice not to drink, disses her record store (again) and criticises her partner for what seems like a very sensible attitude towards someone they care about (asking for an update when she’s going to be late). OK, I know this last one turns out to be a bit more complicated, but at this point in the storyline, that’s not something we, the audience, have knowledge of. So yeah, I found plenty more opportunity to culture my dislike Nina in this scene. I also found a couple of odd little things that start to skew my assessment of Maggie though, and I’m not OK with that. For instance, what’s with that sickly sweet condescending tone when she tells Nina there’s “no judgement” for her having a tiny cup of wine? It’s almost holier-than-thou. And did she leave the door to her record shop not only unlocked, but also wide open? I mean, WTAF? I know Whickber Street is portrayed as a little sanctuary for its residents, but this is still central London. Nobody would do that. So all of that to say (once again) that I find the character set up for these guys… what’s the word… disappointing? Frustrating? They do turn out to be fairly major characters after all. I just feel like they deserve better, perhaps something more consistent. I could go off into a rant about what this suggests about the creator’s ability to create strong female characters, but I think I’ve already covered that ground.

Little personal note about me – the choice of music used for Bentley’s 110+mph drive across London was the very first hidden meaning thing I picked up on. That’s not to say I didn’t love all of season one, or anything about this episode before this scene, it was just the first time I had a little light bulb go off in my head. And look where that got me. 150K+ words and counting. And for all the credit I give this little moment, it’s actually a pretty obvious piece of subtext – I feel like using Queen’s “Good Old-Fashioned Lover Boy” as a background track for Crowley racing across London to get back to Aziraphale is somewhat akin to using a massive billboard to state that the lover boy in question is Crowley himself. I think my brain melted a bit when I realised that at the time. What I really love about this though is that this thing has layers. The lyrics themselves have references to a saloon car, dancing together, and loving phone calls, as well as dining at the Ritz. The last of those is suspiciously missing from this playing; I’ve seen some speculation that is in itself a bit of foreshadowing, because that scenario is absent from this season, and I have to say I’m not averse to that interpretation because the music actually cuts out very suddenly in the scene right before those lyrics should begin, leaving Crowley in the car in silence.

Very quick Easter egg (only spotted whilst taking the screen grab for this write up): both speedometers in the Bentley have numbers made entirely of 6s.

And a quick point of note from the next bit of conversation between Nina and Maggie (who finally seems to soften about the beloved record store): the record shop used to be actually inside the book shop. Seems like a strange thing for Aziraphale to allow – surely that would have occupied valuable space where there should have been books? I’d actually quite like to know a bit more about Maggie’s grandmother, not for any particular reason, just because I think there’s probably a sweet little story there somewhere (not least because that would have been during a time when our hero couple weren’t talking).

That song just keeps giving, doesn’t it? Check out the specific lyrics playing as Crowley arrives at the bookshop:

Driving back in style in my saloon will do quite nicely.

So literal. Absolutely nothing coincidental about this song choice or these particular lyrics at all as far as I’m concerned. I do love that Crowley parks in the same spot that he always parks in, despite then having to walk down the street to get to the bookshop. Given the insane speeds he’s been driving at to get here in the first place, you’d think he’d park as close to the door as possible, but no, he parks in the same place he always does. That’s his space. He also stays on that side of the street instead of crossing directly to the door. That’s probably a convenience of filming thing, seeing as he needs to be able to see Maggie and Nina locked in the coffee shop, but I think it also speaks to the ingrained muscle memory he has being in this location. As a final point of interest for this section, we’re treated to a miracle noise as Crowley turns on the power in Maggie’s shop. This one has that brushed cymbal effect, and what sounds like a choir on an ascending note – that’s another one for the memory bank to be called on later.

And here we are, arrived at a very obvious place to wrap this section up. I have to say I really enjoyed doing this chunk, despite it being less detailed than previous parts. We’ve seen so much relationship establishment for Crowley and Aziraphale in the episode up to this part, it was almost refreshing to visit other character interactions. I am looking forward to taking a look at that Apology Dance though – I am under no illusions that there will be a lot of gifs and screenshots! For now though, and as always: questions, comments, discussion are always welcome. See you for the next one!

[leftduck9986]

Archbishop James Ussher claimed that the Heaven and the Earth were created on Sunday, the 21st of October, 4004 BC, at 9:00 a.m. This too was incorrect, by almost a quarter of an hour. It was created at 9:13 in the morning. Which was correct. The whole business with the fossilised dinosaur skeletons was a joke the palaeontologists haven’t seen yet.

HAPPY BIRTHDAY EARTH!!!

[leftduck9986]

Let's bust a popular myth!

David Tennant was NOT filming the upcoming Dr Who specials while also filming GO season 2!

Good Omens s2 filmed from Nov 2 2021 - Mar 1 2022; the Doctor Who specials filmed May 3 - July 25 2022.

So... what's with Crowley's s2 shifting sideburns and tattoo? Everything is meant. (And if you're not sure about the crew's over-the-top attention to detail, please read this post about the antique sink recreation.)

(pics above, all from s2: "oh no, it's not like that", the love confession, and planning to do a half miracle each)

It seems like Dr Who could be an easy excuse to mask s3 hints hidden within s2...

Here's the first theory/analysis I've seen, by @f0ul-f13nd. What do YOU think??

Have some more pics to study:

(pics above: before the beginning, s1 wall slam with subtext, s2 watching the awning of a new era)

Someone should ask Neil, PROPERLY! (I'm teasing, with the utmost admiration, but also a tiny bit serious here...)

(pics above: lots of angles and both sides of his face during the s2 love confession and kiss)

(pics above, from s2: learning about Azi's French lessons, threatening Jim!Gabriel)

And don't get me started on his multiple wigs and headbands during Job, or his trimmed mausoleum mutton chops. (Details with links are filed under "inconsistencies" in my pinned collection of Clues and metas, if you want them!) There's at least one unreliable narrator at play here, but the question is WHY? WHO? WHAT does it MEAN??!

[leftduck9986]

Crowley’s Sideburns & what do they mean?

Guys this is gonna sound nuts - but Crowley’s sideburns change lengths at strategic moments through the series. It’s too obvious and specific to be a continuity error. I believe that someone who knew him when his sideburns were longer (in Heaven) is editing memories/facts & replacing real-world Crowley with their own memory of Crowley. (EDIT: Or we’re seeing things from a different perspective - maybe Aziraphale is an unreliable narrator). (EDIT2: Or Crowley himself is being manipulated in some way - why the heaven is he tossing Aziraphale’s precious books around?)

But who cares what I think? Look at the evidence and see what you think… https://docs.google.com/document/d/1o97Y_CXwjGuLA3nPD_qtL9Sp2_P5sl9ULUSCwhS4ia4/

[leftduck9986]

currently maybe possibly single-handedly crashing whatever servers eton hosts its archived student newspapers on because me and a friend are getting obsessed with a single outspoken prefect from 1883

[leftduck9986]

Marvelous!

My dears, did you doubt that the first, fourth and sixth episodes of the second season overlap? You wanted proof? I have it! I found several words used in each of these scenes.

stars 

people 

marvel, marvelous 

maybe, might (Al_might_y)

Episode 6. Crowley is in the bookstore waiting for Aziraphale. 

Crowley: You have to go. 

Muriel: Metatron told me to wait. He said I might be useful. Me! *chuckle* He might need me! 

Crowley *grumpy*: Marvelous! Have a gold star!

(Some lines about Ritz.) 

Muriel: Can I take the book with me? They're like people, only portable. 

Crowley: Go ahead! You'll like this one.

Episode 1. The Star Creation Scene. 

Aziraphale: So, all these stars and your... 

Crowley: Nebulae. 

Aziraphale: Yeah. Well, and these people will be able to look up at the night sky and marvel at the vastness that the Al-might-y created. 

– 

Just think about it! What a treasure trove this season is! I got hooked on "marvelous" and a star, and then I found: people, power, sky, Earth, "look" and the phrases "Before we begin..." - "Before the beginning" Yes, the words are simple, but the set of “coincidences” is too big to be random, and it appears in three scenes across the same season.

Episode 4.

And I kept thinking, why did Muriel mention people? It sounds stupid, it's irritating. Muriel may be inexperienced, but you can't usually deny her logic. 

And here it is! The connection between the scenes! It remains to understand why there is a strange word "portable". Half a day passed and it dawned on me! Of course! Our people, unlike in books, are not portable, there is no way to move people along with the Earth to the center of the Universe so that they can see the stars in the sky better! 

I have been saying for a long time: strange, stupid or annoying moments in the series are hints, keys. You can dig in their direction just as successfully as in the direction of parallels. 

A little later, I also found a connection between these two scenes with the 1941 magic show (Episode 4). I will show all my findings in pictures. In addition to the picture, I should add that there's a book in each of the three scenes: 

1) The Book of Creation in the Beginning of Time. 

2) The Bullet Catch trick booklet in 1941. 

3) The book that Muriel asks for, and Crowley throws her The Crow Road.

The picture "Let There Be Light" needs an explanation. 

There is a chain like this: 

- Crowley-angel says this Before the Beginning → 

- Crowley comes to Gabriel-Jim's room, where he is flicking the lamp, and says this to him (the phrase at this point gave off an inappropriate feel, didn't it?). → 

- Gabriel says this at the statue of Gabriel, and then a shaft of light falls on the statue. → 

- The same shaft of light falls on Crowley when Aziraphale invites him on stage. 

The words "stars" were not mentioned in the dialogues in 1941, but the fandom is no slouch! The fact that the dancers are stars has long been noted. My arguments are these: the color scheme of their feathers is the same as the nebulae of Crowley-angel; they are constantly swirling around the characters, taking up all the space; some have stars on their foreheads; when four of them perform, their colors are the same as the "pink-blue nebula in that quadrant" that Aziraphale praised. (Four is a quadrant!) And the stars are on Aziraphale's poster for The Amazing Mr. Fell and on his cloak.

The words "people" were not mentioned in the dialogues in 1941, but I think that the dancers are not only "stars" but also "people", the people of the theater owner, Mrs. H. And they do not want to go on stage because of the cold. Again, it turns out, in my opinion, that people are not inclined to move.

In the following chapters, I plan to refer to this one, because it will be important to me that you are prepared by then and agree with me that these three scenes overlap, and that this is exactly what the Good Omens team intended. In this case, we will draw interesting conclusions. 

To be continued.

All my posts with analyses are here. Author @rada-76 Translator into English @kimberleyjean

[leftduck9986]

9yo: I'm researching the Bermuda Triangle!

Me: Really? What have you learned?

9yo: Well, I have two theories. The first is that the currents there make huge waves that sink the ships. But that doesn't explain the missing airplanes. My other theory is the science fiction theory which is that it's a BEACON TO HELL!!

Me: ....I should probably not let you watch Good Omens anymore.

9yo: Nooooo please let me watch Good Omens I need season three.

I love her.

[leftduck9986]

GWG Ramblings

The Tommy Westphall Universe

Within the Harry Potter Fandom, there is a theory that the entire series was nothing more than the escapist imaginings of a severely abused Harry locked in a cupboard under the stairs. It's a theory that Rowling, when asked about it, neither confirmed it nor denied it:

"I think that’s a fabulous point, and that speaks so perfectly to the truth to the books, because I had it suggested to me more than once that Harry actually did go mad in the cupboard, and that everything that happened subsequently was some sort of fantasy life he developed to save himself."

It's a hotly contested theory among HP fans and understandably so.

And while we could argue this theory all day, there's only person who'd really know.

Tommy Westphall.

~•~

Tommy Westphall was an autistic character in the 80s medical drama, St. Elsewhere. He was a minor character, appearing in only 15 episodes.

The show centered around St. Eligius, a teaching hospital in Boston. It was a much loved and highly lauded show, running for six seasons and winning a dozen Emmys. But none of that matters. The only thing anyone cares about anymore is the final scene of the final episode.

In the scene, the medical director, Dr. Donald Westphall and his father (another doctor from the series) enter the living room where Tommy is sitting and holding a snow globe. Donald has just arrived home from work and is wearing construction-worker gear. He and his dad watch Tommy for a few moments, then Donald turns to his father and says, "I don't understand this autism thing, Pop. Here's my son. I talk to him, I don't even know if he can hear me. He sits there all day long, in his own world, staring at that toy. What's he thinking about?"

The camera then zooms into the snow globe, and inside, we see a tiny version of St. Eligius Hospital, implying that the entire series was a figment of Tommy's imagination.

Pretty wild, huh?

Well, it gets wilder.

A doctor from St. Elsewhere, Dr. Roxanne Turner was in an episode of Homicide: Life on the Street.

Not a big deal. Crossovers happen all the time. Except...

If Dr. Turner was made up by Tommy, does that mean he dreamed up Homicide too?

Then, on top of that, Detective John Munch, one of the main characters on Homicide moved to Law and Order after Homicide ended. Detective Munch went on to appear in episodes of The X-Files, Arrested Development, and The Wire.

All of which took place in the mind of one child.

But it doesn't stop there. In one episode, the doctors of St. Elsewhere went out for drinks at a local bar in Boston. The bar in question was Cheers. The Cheers. Making Cheers also one of Tommy's daydreams.

Then Cheers spun off Fraiser, which crossed over with Caroline in the City, which crossed over with Mad About You, which crossed over with Seinfeld. Further expanding Tommy's vast imaginary universe.

Now, at this point, I'm sure you're wondering how Harry Potter fits into all this.

It all has to do with the show Supernatural.

So, remember how Detective Munch from Homicide also appeared in X-Files, thus placing the infamous sci-fi show into the Tommy Westphall's ever-expanding universe?

Well, in X-Files, there is a Lariat car rental company. Later, in Supernatural's episode, "Time is On My Side," we see Lariat Car Rentals, (which btw, is also featured in Breaking Bad and Veronica Mars).

Then, in the Supernatural episode, "Regarding Dean", Rowena MacLeod, a witch, suggests using the Obliviate spell to help Dean with his memory.

The Obliviate spell, of course, comes from Harry Potter, thus indicating that the entire HP universe is just another one of Tommy's countless daydreams.

(Btw, in addition to this connection, there are two others that I haven't yet had time to research.)

- In the show Galavant, which has been linked to Tommy's universe, one of the characters, Xanax, mentions the Petrificus Totalus spell from The Philosopher's Stone.

- Then, in the Fantastic Beasts and Where to Find Them movie trilogy, a montage features The New York Star, the newspaper that Carrie Bradshaw worked for in Sex and the City (also a figment of Tommy's imagination.)

But that's not all. Three other newspapers are in the same montage, The New York Chronicle, The New York Gazette, and The New York Clarion.

Each of these papers has been featured in other shows and movies linked to Tommy's universe, such as:

-The Twilight Zone

-Beverly Hills 90210

-I Love Lucy

-Citizen Kane

-Growing Pains

-The Pride of the Yankees

-Felicity

-The Untouchables

...just to name a few.

To date, 419 shows have been traced back to Tommy Westphall.

And that doesn't count movie connections, which, btw, includes the entire MC Universe and the Aliens Franchise.

Let's start with the MC Universe.

In Avengers: Infinity War, we discover that Tobias Funke is part of the Collector's collection. Tobias Funke was a character from Arrested Development, which crossed over with Homicide which crossed over with St. Elsewhere.

As far as Aliens goes, it gets a little more complicated.

In St. Elsewhere, the character Dr. Mark Craig mentions that B.J. Hunicutt from the series M.A.S.H. was a former colleague.

Then, as mentioned earlier, the doctors of St. Eligius went to Cheers. One of the characters in Cheers is Fraiser, the titular character of the show Fraiser.

During his radio show, Fraiser receives a call from John Hemingway, a character from the John Laroquette Show.

The bus stop in front of the office in the John Laroquette show was built by Yoyodyne.

Yoyodyne is a client of Wolfram and Hart, a law firm featured in Buffy, the Vampire Slayer (as well as Angel, The Adventures of Buckaroo Bonzai, Star Trek, Firefly, Red Dwarf, Dollhouse and Bones).

Another client of Wolfram and Hart is Weyland-Yutani, which built weapons and ships in Aliens.

So, that means M.A.S.H., Aliens, Buffy and all the aforementioned shows and movies exist within the same universe. Tommy Westphall's universe.

So, yeah...

To quote one reddit user:

"Forget the Matrix. We're all living in Tommy Westphall's mind."

If you're curious, here is a masterlist of all the TV shows that have been traced back to Tommy Westphall.

@milivanili99 @fancy-pantaloons @turvi @pansexualwitchwhoneedstherapy @georgie-weasley @kaysau2510 @hanne-montana @rhunew @greenapplegrass @loca4moony @whotfskai @sierraluvzz @lillisummers

[leftduck9986]

The Ineffable Detective Agency, sifting through the noise and striking gold.

The Ineffable Detective Agency presents: Decoding 1941 Hell – The Hidden Morse Messages

The Good Omens team never fails to surprise us: In the Hell scenes set in 1941, there are subtle beeps in the background that many might have missed: morse code messages! 

We took the time to decode these messages from about 5 minutes of the show – some parts are easy to identify, some parts are really hard due to overlying sounds or noises. 

We used the 5.1 audio and selected only the channel with the morse signals. Check out an easy snippet – which line is it? :)

Then, we applied high- and low-pass filters to emphasize the code’s pitch around 1360 Hz. Some of us have pretty sharp ears, some of us worked with the frequency spectra to mark short and long signals as well as pauses in between. 

Here is what we have heard or seen, together with some facts and thoughts on the lines. Let us know what you think!

S2E4 06:19 to 08:23 “Have a miserable eternity”

Here are the pieces we have successfully decoded: 

HAVE A DREADFUL ETERNITY

We are wondering why this is different to the text via loudspeaker as well as Furfur’s “have a miserable eternity”...

TOMMY’S A LEGEND

Do we know a Tommy?

1) There's the Welsh magician/comedian Tommy Cooper (his magical act specialized in magic tricks that appeared to fail), who was the inspiration for the red fez in the magic shop. Cooper died live on television suffering a heart attack. :(

2) There's also the lead character Tommy in Brigadoon, the plot of which feels seriously GO-coded. There is a magic village hidden outside time that only appears in Scotland once every 100 years and is connected to the rest of the world with a bridge, outsiders who find "clues about the village and its people that make no sense", and a plot about unlikely lovers who are separated (because one "can't just leave everything in the real world behind"), and an ending that reunites the lovers against all odds because of the strength of their love ("I told ye, if you love someone deeply enough, anything is possible ... even miracles.")

PAUL’S OUR MIXING HERO

Could that be the Re-Recording Mixer PAUL McFADDEN?

ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABAN

The phrase "Abandon all hope, ye who enter here" is a quote from Dante’s Inferno, Prelude to Hell, Canto III, Vestibule of Hell: Dante passes through the gate of Hell, which bears an inscription ending with the phrase "Lasciate ogne speranza, voi ch'intrate". So, the minisode is THE place where we get quotes from the two most famous literary accounts of Hell – with Furfur's quotation of Paradise Lost in the dressing room at the Windmill Theater: "In dubious battle on the Plains of Heaven". 

S2E4 09:16 to 10:09 “Processing the Nazis”

ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION

S2E4 11:07 - 13:12: “The offer to return as Zombies”

These two minutes are very tricky: while in the first half it is ok-ish to identify the signals in the spectrum, the second half is overlaid by so much noise… – yes, we are calling the dialogues and sounds in hell noise now :D – that we chose a different approach. 

It looked as if the sequence starts from the beginning, so we compared both parts, and now we are quite sure that it is the same pattern. 

DO NOT LICK THE WALLS HEAVEN LOOKS DOWN ON YOU BECAUSE YOU ARE PATHETIC ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION DO NOT LICK THE WALLS HEAVEN LOOKS DOWN ON YOU BECAUSE YOU ARE PATHETIC ABANDON ALL HOPE YE WHO ENTER HERE CHEER UP IT’S ONLY ETERNAL DAMNATION DO NOT LICK THE WALLS HEAVEN LO …

So those are the sections we are pretty certain we have correct. However, there is one section we are still unsure on - maybe you can help?

Back to S2E4 06:19 to 08:23

We have been fighting hard with the first six seconds, before “HAVE A DREADFUL ETERNITY” and we think it is:

SHE’S IN MA PHONE

Who are we talking about now?

Do you have any other ideas of what this could be? If it is “She’s in ma phone”, what does that mean? Or is the S just noise and it starts with an H? Or even with a B – BE’S IN MA PHONE?

So, what are your thoughts on all of these messages? Why go to the effort of putting morse code here? Is it a fun easter egg, or something more? And why say “dreadful eternity” in morse when the quote used in the show is “miserable eternity”? We have so many questions!

Spoiler: There is more code hidden throughout the series.  Let us know what you see or hear!

-... .    -.- .. -. -..    - ---    . .- -.-. ….    --- - …. . .-. 

An amazing joint effort with @noneorother, @kimberleyjean, @thebluestgreen, and @embracing-the-ineffable at the @ineffable-detective-agency

See more of our posts, plus a collection of Clues and metas from all over the fandom, here.

[leftduck9986]

😊🌟 grandpas on adventure

[leftduck9986]

The Ineffable Detective Agency Presents: What do you mean there are TWO Edens??

Do you remember how we were shown those two different shots of the Eden walls in S1? One is the zoom in, the other a zoom out and they bookend the scene. Here they are back to back...

I've not seen anyone mention it before but these are DIFFERENT WALLS. Yes, you heard me correctly. We have been shown two totally different Edens. Let's talk about it shall we?

The devil's in the detail...

Try to think back and remember - how many spikes jut out from the walls of Eden? I’ll make it easy - is it 7 or 10?

Did you guess 7? Well, congratulations, you’re half correct! 

Did you guess 10? Well, congratulations, you’re also half correct!

That’s right - we see TWO versions of Eden in that sequence.

Here’s the Eden we’re shown first, as the camera sweeps in over the vast sands, and God narrates over the top. Look carefully at the design of the walls here, particularly those spikes. There are supports which have three spikes coming out of them. Take a look at the portions in between...

10 spikes!

And then at the end of this sequence, here are Crowley and Azriaphale, standing on the wall, looking out over the departing Adam, Eve and Flaming Sword. 

So, now we have 7 spikes! It’s not the only change, either. Take a look at the shape, size, colour and weathering of these walls.

So, what’s happened here? The only conclusion I have is that the Good Omens team have purposefully used two different digital assets when creating the VFX for Eden. The reason it flew under everyone’s radar is because these two shots are separated by roughly 4 minutes in total!

But you know what? I think the Good Omens team have been trying to drop hints all along. Check out this post from a fan who attended an event and was told about multiple Edens by Michael Ralph. What else have they been dropping hints about? Lots, I suspect.

With thanks to all the detectives @embracing-the-ineffable, @theastrophysicistnextdoor, @noneorother, @somehow-a-human, @komorezuki, @maufungi, @lookingatacupoftea, @havemyheartaziraphale, @251-dmr, @dunkthebiscuit, and @ghstptats <3

[leftduck9986]