#09/1941

[carbone14]

Pin-up - Septembre 1941

Illustration de Alberto Vargas

[theastrophysicistnextdoor]

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 (with the incredible @maufungi, @somehow-a-human, @lookingatacupoftea, @komorezuki, @havemyheartaziraphale, and @dunkthebiscuit)

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

[aseriesofvariousgongs]

So I've been watching all the historical sequences in timeline order and you can just SEE their relationship develop and it's actually killing me

Here's the order with episode numbers and timestamps if anyone's interested:

s2e1 0:06 - creation of the universe

s1e1 3:10 - 4004 BC garden of Eden

s1e3 0:00 - 4004 BC garden of Eden

s1e3 0:51 - 3004 BC Mesopotamia (Noah's Arc)

s2e2 0:10, 22:35, 44:09 - 2500 BC Land of Uz (Job)

s1e3 2:49 - 33 AD Golgotha (Crucifixion)

s1e3 0:32 - 41 AD Rome

s1e3 5:39 - 537 AD Kingdom of Wessex (medieval)

s1e3 7:57 - 1601 Globe Theater, London (Shakespeare)

s1e3 11:53 - 1793 Paris (French Revolution)

s2e3 8:35, 17:37, 24:28 - 1827 Edinburgh (grave robbery)

 s1e3 15:33 - 1862 St. James Park, London (Victorian)

s1e3 17:28 - 1941 London (WWII)

s2e4 5:11, 8:24, 10:10, 13:12, 36:29 - 1941 London (WWII)

s1e3 24:09 - 1967 Soho, London

[youryurigoddess]

A nightingale sang in the London Blitz

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

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

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

The night they met

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

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

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

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

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

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

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

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

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

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

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

The nightingale

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

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

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

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

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

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

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

The dawn came stealing up

All gold and blue

To interrupt our rendez-vous

I still remember how you smiled and said

Was that a dream or was it true?

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

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

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

The Man Hunt

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

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

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

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

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

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

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

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

Aziraphale’s song

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

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

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

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

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

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

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

[panimoonchild]

In the democratic world is "Never again", in the Russian world - "We can and will proudly repeat"

Attacked electricity generation and transmission facilities in Poltava, Kirovohrad, Zaporizhzhia, Lviv, Ivano-Frankivsk, and Vinnytsia regions.

I urgently recommend you to watch Zelenskyy's speech. I was literally crying from the start. I even downloaded video but Tumblr once again crushed for me. I'm sorry.

Back to modern time.

At night, Russians attacked three DTEK thermal power plants. The equipment was seriously damaged.

This is the fifth massive shelling of the company's energy facilities in the last month and a half.

In the Kyiv region, 13 private buildings were destroyed and damaged as a result of the night shelling. Debris fell in four districts of the region.

In the Lviv region, the occupiers attacked a gas storage facility in Stryi district and a thermal power plant in Chervonohrad district.

An 8-year-old child was injured in Kirovohrad region. A critical infrastructure facility was damaged in the region, and 13 houses were destroyed.

At night, on May 8, at 02:42, in Kharkiv, air defense forces shot down two Shaheds in the northern part of the city. No damage and no casualties - HOVA.

About 15 settlements of the Kharkiv region were hit by enemy artillery and mortar attacks: Sinkivka, Stepova Novoselivka, Berestove, and others. Dvorichanske and Sinkivka came under aerial bombardment.

17:00 с. Kucherivka, Kupyansk district. A private house was burning as a result of the shelling.

May 7, 09:30 a.m. Cherkaski Tyshky, Kharkiv district. The roofs of two private houses were damaged as a result of hostile shelling.

Ukrainian troops repelled 16 attacks in the Kupyansk sector over the last day, including in the areas of Sinkivka, Pishchane, and Berestove in Kharkiv region.

The Ukrainian Air Force destroyed 39/55 missiles and 20/21 UAVs:

▪️ 0/1 X-47M2 Kinzhal aerial ballistic missiles;

▪️ 0/2 Iskander-M ballistic missiles;

▪️ 4/4 Kalibr cruise missiles;

▪️ 33/45 X-101/X-555 cruise missiles;

▪️ 0/1 Iskander-K cruise missiles;

▪️ 2/2 X-59/X-69 guided missiles;

▪️ 20/21 Shahed-131/136 strike UAVs.

Thanks to the Air Force, I woke up today. And I even had the luxury of not having to go to the corridor, even though my region was under attack.

Back to World War II.

Photos from AFUStratCom.

#Mordor On this day in 1941, representatives of the Allied Wehrmacht were invited to a parade in Moscow. World War II had been going on for 1 year and 8 months.

Modern time:

On this day in 2014, Ukrainian miners spoke about the torture of the Russian occupiers in Donetsk and showed a tattoo that was almost cut off by a light bulb.

Russia never changed. Russia never learned.

Total victory and liberation of Ukraine is the only possible scenario for peace.

[parakeet]

Interesting inscription on this old copy of the seven seas by rudyard kipling

the inscription has a name and address, but also appears to read:

‘While staying with J. Chance Summer 1941 + between 10/09/41 til 19/09/41 + bought in Oxford Broad str at Parkers’

Inscriptions are so interesting. My man Edward didn’t even know the specific date he bought it. Maybe that’s not why he was recording it. Maybe he just wanted it to remember the trip as a whole? That J might be a T. Sorry Mx Chance.

Anyways here’s a picture of Parker’s bookshop in 1906 from the historic England website (ref CC50/00254 since tumblr won’t let me link things).

Parker’s bookshop at 26-27 Broad Street in Oxford was demolished in 1964. A new Parker’s book shop opened on a floor in the new building and a key focus was that you no longer needed ladders to reach the books

If you’ve ever been the Blackwell’s bookshop on 27 Broad Street in Oxford you’ve been where Parker’s used to be.

(In the second photo, Parker’s is the small building on the bottom left)

I didn’t even buy the book

[pinturas-sgm-aviacion]

1940 09 09 To Fight Another Day - Mark Postlethwaite

is dedicated to the memory of Pilot Officer William ‘Bill’ Watling RAF of 92 Squadron. As war-clouds gathered over Europe, Bill and his friend Brian joined the Armed Forces and learned to fly; Bill Watling with the RAF and Brian Rose with the Fleet Air Arm. Within 12 months Bill Watling was defending the skies over Great Britain with 92 Squadron during the Battle of Britain.On 9 September 1940, Bill’s section of Spitfires was attacked by a group of Me109s which immediately set fire to his aircraft. Struggling to escape from the burning cockpit, Bill finally managed to parachute to safety albeit with severe burns to his hands and face. He landed in the sea not far from the shore whilst his Spitfire came down inland at East Guldeford.Undeterred by his injuries, Bill returned to his squadron within a month and became operational again, claiming a couple of 109s in combats towards the end of the year.Then on 7 February 1941, Bill Watling was sent up from Manston on a morning weather check flight in almost zero visibility. As he struggled to find his way back to Manston after completing the sortie, Bill’s Spitfire hit high ground near Deal and exploded, killing him instantly. Bill Watling was just 20 years old.

[linesandmarksonpaper]

Hal Foster - Prince Valiant Sunday 09/21/1941

[cruciatusforeplay]

Hello I have Good Omens Brainrot like the rest of us, and I had a spare afternoon, so here is

Crowley and Aziraphale's Canonical Chronological History

(watching-guide with media timestamps so you can watch it all develop in order)

It's long so it's going under the cut. Let me know if there are errors beyond being out by a second or so. Also speedrunning two series of this show in an afternoon made me So Unwell (emotionally). I would absolutely recommend it.

I've broadly only included only clips that featured either one or both them as a focal point, or where the events would have informed their relationship, plus the option of the S2 finale in its entirety.

**Before the beginning, nebula** S2E1 0:00- 6:20 (up to opening credits)

**Just after the beginning, Garden of Eden, 4004BC** S1E1 1:55 (or 3:25 to skip Adam and Eve)-6:04 (opening credits)

**Noah's Ark, mesopotamia 3004BC** S1E3 0:00-2:47

**Job, 2500BC** S2E2 0:00-5:35, 22:30-40:01, 44:10-46:49 (end of episode)

**Crucifixion of Jesus, Golgotha, 33AD** S1E3 2:47-4:28 (continues directly to)

**Rome 41AD** S1E3 4:28-5:31 (continues directly to)

**Knights, kingdom of Wessex, 537AD** S1E3 5:31-7:56 (continues directly to)

**Bastille, Paris, 1793** S1E3 11:53-15:31

**The Globe Theatre London, 1601** S1E3 7:56-11:53 (continues directly to)

**Edinburgh, 1827** S2E3 8:34(post credits)-12:56, 17:38-22:10, 24:28-33:59

**St James' Park London, 1862** S1E3 15:31-17:29 (continues directly to)

**The Blitz, London, 1941** S1E3 17:29-24:07, recap can be skipped that can be skipped: S2E4 5:10(post credits)-6:14, 8:24-37:59

**Soho, London, 1967** S1E3 24:07-28:38 (opening credits)

**The M25 meeting, Hell, 1970s** S1E5 21:21-22:27

**The Antichrist, near Tadfield airbase, "11 years ago" ~2008** S1E1 7:32(post credits)-14:24, (optional baby drop off with Crowley) 19:24-20:14, 25:59-29:59, 30:14-32:24, 33:35-35:04 (continues directly to)

**Antichrist upbringing, "5 years later" ~2013** S1E1 35:04-39:30

**6 days before the end of the world, Monday, 2019** S1E1 40:45-43:19 (continues directly to)

**3 days before the end of the world, Wednesday, 2019** S1E1 43:19-44:08, 44:38-45:52, 48:01-49:11(to end credits)

**2 days before the end of the world, Thursday, 2019** S1E2 0:00-3:56, 21:16-23:33, 26:24-27:54, 31:04-32:10, 34:14-44:40, 45:36-46:21, 48:05-54:01 (to end credits)

**1 day before the end of the world, Friday, 2019** S1E3 30:07-31:14, 35:27-36:49, 38:48-41:30, 43:39-45:51, 49:41-49:53, 50:39-53:11

**The last day of the world, Saturday, 2019** S1E4 4:01-5:42, 8:15-9:28, 29:06-29:48, 33:29-42:00, 48:47-54:06 (to end credits)

**5 Hours and 48 Minutes to the End of the World, 2019** S1E5 0:00-1:32, 3:17(after credits)-4:17, 6:11-8:49, 11:01-13:25, 17:47(or 20:18 to skip the spirit of Ron)-21:00

**1 Hour and 43 Minutes to the End of the World, 2019** S1E5 21:00-21:21, 22:28-25:07, 26:49-31:43, 36:59-37:31

**17 minutes to the end of the world (and the rest ofbthat day), 2019** S1E5 46:24-49:25 (end credits), S1E6 1:53(2:35 to skip repeat section)-4:39, 8:19-9:49, 10:44-12:49, 14:02-27:10

**The very last day of the rest of their lives, 2019** S1E6 27:10- 28:07, 31:02-32:58, 0:00-1:46, 32:58-36:26, 42:33-45:45, 48:40-52:17

**London, present day (S2E1), ~2023** S2E1 7:48-13:15, 13:47-29:59, 33:00-36:13, 37:39-38:00, 38:19-42:41

**London, present day (S2E2), ~2023** S2E2 5:35-8:53 (to opening credits), 10:21-22:30, 40:04-43:28

**London/Edinburgh present day (S2E3), ~2023** S2E3 1:14-6:35, 6:47-7:07 (to opening credits), 12:57-14:36, 16:09-17:38, 22:11-24:27, 33:59-42:05(to end credits)

**London, present day (S2E4), ~2023** S2E4 0:00-3:42 (opening credits), 41:08-41:46, 42:02-43:09(end credits)

**London, present day (S2E5), ~2023** S2E5 0:48-2:57, 3:43-5:24, 7:07-8:04, 8:31-10:12, 12:29-13:32, 13:57-17:57, 19:33-29:52, 30:24-40:38

**London, present day (S2E6), ~2023** S2E6 0:00-4:52(to opening credits), 6:20-(optional 21:06-27:31 for Gabe and Muriel memories, otherwise continue to)end of ep

[seoul-bros]

RIP Sergio Mendes (1941 - 2024)

Post Date: 07/09/2024

[pwlanier]

LEO GESTEL (1881-1941)

Zomerdag (Landschap bij Montfoort) (Summer day (Landscape near Montfoort))

signed and dated 'LEO. GESTEL '09' (lower left); signed and titled 'ZOMERDAG LEO. GESTEL' (on the stretcher)

oil on canvas

Christie’s

[carbone14]

Troupes finlandaises et allemandes avec un char soviétique T-26 aux couleurs finlandaises – Guerre de continuation – Tuulos (aujourd'hui Hämeenlinna) – Finlande – 5 septembre 1941

[margotfonteyns]

Bewitched: Ladies Sing Rodgers & Hart

01 - Ruth Etting - Ten Cents A Dance (1930) 02 - Helen Ward - Blue Moon (1935) 03 - Maxine Sullivan - Spring Is Here (1938) 04 - Helen Humes - Sing For Your Supper (1939) 05 - Bea Wain - I Didn't Know What Time It Was (1939) 06 - Adelaide Hall - The Lady Is A Tramp (1940) 07 - Helen Forrest - Bewitched (1941) 08 - Lena Horne - Where Or When (1941) 09 - Hazel Scott - Dancing On The Ceiling (1947) 10 - Lee Wiley - Manhattan (1950) 11 - Betty Carter - I Could Write A Book (1955) 12 - Helen Merrill - Wait Till You See Him (1955) 13 - June Christy - You Took Advantage Of Me (1956) 14 - Peggy Lee - It Never Entered My Mind (1956) 15 - Jeri Southern - He Was Too Good To Me (1956) 16 - Ella Fitzgerald - A Ship Without A Sail (1956) 17 - Sarah Vaughan - A Tree In The Park (1956) 18 - Abbey Lincoln - This Can't Be Love (1956) 19 - Carmen McRae - Isn't It Romantic? (1958) 20 - Billie Holiday - Glad To Be Unhappy (1958) 21 - Blossom Dearie - To Keep My Love Alive (1960) 22 - Anita O'Day - Johnny One Note (1960) 23 - Nancy Wilson - Little Girl Blue (1962)

Bonus Tracks:

24 - Mary Lou Williams (piano) - Lover (1954) 25 - Dorothy Ashby (harp) - Thou Swell (1956)

Download: flac / mp3

[cetaitlaverite]

Why All This Music?

Masters of the Air - Rosie Rosenthal x OC

the link to the masterlist is here picking up right where we left off. hope you love <3

09. Up for A Vote

Freddie drew in a deep breath, thinking hard about where to start. She hadn’t spoken about Daniel like this since she’d first met Millie and Jem. Hadn’t had to, and especially hadn’t wanted to.

“I met Daniel when I was fourteen,” she began, fixing her eyes on the control panel in front of her. “I was born in Oxford, see, but my family moved to Vienna when I was two because my father got a job at the university. But, eventually, he got another job at Oxford University again, so we moved right back, to the same house we’d lived in before. But there was a new family living next door by now. It had been twelve years since we’d left.”

She smiled ruefully, continuing, “I met Daniel when his mother made him knock on the door with flowers for my mother. I remember they were tulips, a pale shade of yellow. They were beautiful. So was he, by the way.”

Here, Rosie laughed quietly to himself but didn’t make to interrupt.

“Anyway, we fell in love very quickly, even though we were fourteen and fifteen at the time. He was my boyfriend within a month and we stayed that way, never once ever thought about looking elsewhere. When the war broke out for us back in ‘39, when I was nineteen and he was twenty, he enlisted immediately. He joined the RAF because his father had been a pilot. They trained him as a fighter pilot and he got assigned to flying Hurricanes - he was good at it, too. Survived the Battle of Britain, when they were sending fighters up constantly. He would be dogfighting three times a day, sometimes, for hours at a time. He’d get two hours of sleep most nights. The Luftwaffe threw everything at them. But Daniel, he - he was just so good at what he did. Always did it smiling, too. Always found it hard to complain. He told me that he could never bring himself to mind when he’d get called out once again, even if it was the middle of the night and he’d only just fallen asleep, because he knew with every German fighter he took down he was making the world safer for me. Said he didn’t want us to have to raise children in a Britain where everyone was speaking German.”

Freddie laughed quietly, swiping away the tears which had gathered under her eyes. “He hated that I can speak German, by the way. He used to hate it when I spoke it to him. He couldn’t understand me, of course, so I’d call him all manner of sweet names and tell him I loved him in all these poetic ways and he’d demand that I stop so insistently it’s like he thought I was cursing him.

“Anyway,” she went on with a shake of her head, “I followed him to war, obviously. Well, as much as I could. I asked him how I could get myself closest to him and he told me mine would be the last voice he heard before a mission and the first voice after if I became a wireless operator, so that’s what I did. That’s why I lied and said I couldn’t speak German when I enlisted - so that I’d get to talk to him, look after him in my own small way. He put in a good word for me with one of the RAF higher-ups and got me assigned to the same base as him.”

Her smile faded as she realised she would have to speak the part of the story she hated, the part which brought it to its end. She tipped her head back to rest against the seat and shut her eyes. “He went down on a Monday in March 1941. The 10th. Shot down by a Messerschmitt. His plane went down in flames and crashed not far from the airfield. He’d been so close to home. 

“I was working at the time, guiding some of the others through the landing. I remember thinking they sounded strange over the radio but I figured it must just have been a particularly bad mission. I always thought I would know immediately if Daniel had gone down, would just feel it or something, I don’t know, but I hadn’t. And then after interrogation and everything his squadron leader came to find me, took me to a private office, and told me what had happened.”

Freddie was breathing heavily, trying to speak around her tears. Two and a half years later and it still ached as if it had happened yesterday.

“I didn’t believe him at first, of course, but the other fighters in the squadron had all seen it. They sat with me for hours, assuring me over and over again that they weren’t mistaken, that he was gone, and that he wasn’t coming back, because I kept insisting that he might have survived and they needed to look for him.

“But,” she continued, “he hadn’t. So they gave me his footlocker and the responsibility of seeing to it that his belongings went where they were supposed to go. I kept a few things, of course, gave a few things to his closest friends, then sent the rest to his parents. I visit them every time I go home and they always welcome me like a daughter but I find it -” She had to pause to breathe heavily, choking on her own words. “I find it so hard to look at them now. His mum, she - she has his smile.”

Freddie had her eyes squeezed shut, trying to keep in the tears even as they fought to free themselves from behind her eyelids. In spite of her best efforts they came stumbling down her cheeks anyway, the taste salty in her mouth, the wetness cold on her skin. Her eyes were starting to itch because of them, the back of her throat starting to taste strange.

“Oh, Fred,” Rosie said quietly, watching her fighting to get herself under control. Gone was the playful, vibrant girl from merely minutes earlier who’d pretended to shoot down the Luftwaffe’s finest. As much as he missed that version of her, longed to make her smile again, he couldn’t help wanting to scoop up this version of her and cradle her to his chest, whisper about all the good things in the world until she remembered she was the best of them.

Rosie’s soft words, his sympathy, made her sob. She pressed the heels of her hands into her eyes, willing the tears away, and started apologising for how she’d thoroughly collapsed in on herself when her descriptions of Daniel had been intended to be happy. 

But Rosie only hushed her softly. He reached for her, curled one arm beneath her knees and the other around her waist and lifted her into his lap.

Freddie curled into him immediately, instinctively. She couldn’t find it within herself to be ashamed of how she was seeking comfort in another man while crying over her lost love. She tucked her head beneath his chin, held on tight to his shirt, buried her face into his neck and tried to drink in the smell of him, the warmth of him, the feeling of him - secure, reliable, safe. Alive.

“You can’t ever go down, Rosie,” she started saying, her voice wet and thick with tears. “You always have to come back. Always. Do you hear me?”

“Always,” Rosie assured her, tightening his arms around her, bringing her closer into his chest. “I’m not gonna leave you behind, Fred. I promise.”

“I take promises very seriously, Rosie,” she told him, sniffling. 

He smiled in spite of himself. “Me too.”

“You can’t break it,” she insisted. “You have to keep coming back. Every time. You have to.”

“I will,” he assured her, soft and sincere. “I’ll keep on comin’ back, sweetheart. You’ll get sick of hearing my voice on your radio.”

Finally, mercifully, she giggled. It was wet and weepy but it was enough. “I won’t,” she disagreed. “I like hearing your serious pilot’s voice over the radio.”

Rosie grinned, tilted his head down to press a kiss to the top of her head. “You making fun of me, Fred?”

He could feel her smiling against his neck. “Absolutely.” Her tears were slowing now, as was her breath. He could feel her breathing deeper and yet her tight grip on him never faltered.

They lapsed into silence as she calmed down. He listened avidly to her breathing. “You want me to take you back to your bunk?” he asked after a while.

Freddie inhaled deeply. “I just want to sit here for a little while longer,” she confessed, shifting just slightly closer.

She worried, momentarily, that Rosie would think her clingy, demanding he let her stay in his lap when he’d only given it to her out of kindness. But all he did was keep on holding her, resting his cheek on her head. Slowly, he began running one gentle hand up and down her back, over and over again in a steady rhythm, until, eventually, she drifted off to sleep.

Freddie woke up in her bunk in the pitch darkness with a sick feeling brewing in her stomach. The whiskey, she knew. All around her were the sounds of breathing, the hut now full of wireless operators shifting and sighing softly in their sleep.

Meatball shifted briefly at the foot of Freddie’s bed, smacked his lips, and then settled. Freddie laid still.

“Mils?” she whispered into the dark. She’d woken facing Millie’s bed and hazarded a guess that she wouldn’t be able to sleep.

“Yeah?” Millie whispered back after a beat.

“How are you feeling?”

Millie shifted in bed, presumably rolling onto her side to face Freddie, and hummed. “Drunk,” she said. “Jem stole another bottle anyway.”

“Did she get away with it?”

“Of course she did,” Millie replied. “They had fewer people working the bar because hardly anyone was in there. She got behind the bar under the guise of getting me a glass of water to sober me up and slipped straight out. No one saw the bottle tucked under her arm, I’m sure, but even if they did, no one asked.”

“What did you do while I was gone?”

“Talk,” Millie said. She yawned. “Had a pillow fight. Played with Meatball for a bit and then took him out to go to the toilet. Then came back in to go to bed.”

“Sounds like fun.”

Millie scoffed softly. “Not as much fun as you were having, I’m sure.”

Freddie groaned. “What did he tell you?” She’d hoped Rosie would have dropped her off with few words to share about their time together.

“Oh, you know,” Millie said airily. “Just that you’re the best dogfighter he’s ever seen.”

Freddie groaned once more. She lifted her head off of her pillow just to slam it down over her ears, lest she be reminded of her idiotic drunken actions.

Millie was laughing when she removed the pillow. “Don’t worry,” she said around her quiet giggles, “he thought it was cute.”

“I’m so embarrassed,” Freddie despaired into the darkness.

Millie kept on laughing. “He’s smitten with you, Fred,” she assured her. “I can tell. I don’t think there’s anything you could do now that would change that. If anything, your little performance tonight has just made him like you more.”

“I’m still embarrassed,” Freddie told her.

Freddie couldn’t see it but Millie was grinning. “I’m sure you are. But I wouldn’t worry too much. He set you down on your bed and tucked you in like you were the most precious thing in the world to him. He was so gentle with you, so clearly enchanted. He had stars in his eyes, to tell you the truth.”

Freddie smiled to herself, turned her face into her pillow as though to conceal her blush even though Millie couldn’t see it in the darkness. She thought back on her time with Rosie, on the emotional rollercoaster that it had been, and sighed before venturing, “I told him about Daniel.”

“You did?” Millie sounded surprised.

“Yeah,” Freddie confirmed. “I’d only intended to talk about what he was like, really, but I ended up telling Rosie the whole story. Started crying and everything. Inconsolable, I was.”

Against her will, Millie laughed.

“But I think I feel better now,” Freddie continued. “I’ve not been fair to him, really, being so hot and cold. At least now he knows why.”

“You probably needed a good cry, I reckon,” Millie observed. “Especially into Rosie’s arms,” she added as an afterthought. Freddie could just imagine her smirking.

Freddie laughed softly to herself. “I won’t disagree.”

They lapsed into silence, both thinking hard on different things. Freddie suspected Millie might have finally fallen asleep before she spoke up softly once more, less certain and less jovial than she’d been before. “He’s looking after you, isn’t he?” she asked. “Rosie?”

Freddie smiled quietly. “He is,” she assured her. 

“Good,” Millie decided.

Freddie wasn’t sure at which point they both fell asleep. It seemed like one minute they’d been talking and the next they were waking up, groggy and nauseous and groaning about banging headaches.

For all of their complaining, however, it was clear that no one felt worse than Jem. Her head was down the toilet before they’d even woken up and there it stayed for the better part of the morning until she felt brave enough to follow them to breakfast. Mercifully, she’d been too drunk last night to even consider changing out of her dishevelled uniform, so she traipsed behind the group as she was.

The table of wireless operators had clearly seen better days. Freddie was shivering even while she sat wrapped in her blanket, Millie had her hands over her eyes and was complaining to anyone who would listen that it was too bright inside the mess hall, and Jem’s head was on the table. She would have face planted into her porridge had Paddy not swiped the bowl away at the last second.

“How much did you lot drink last night, anyway?” Amy asked, amused, around a sip of coffee. She and the other girls who had spent their night in the officers’ club weren’t looking too sprightly either, but they didn’t look quite as half-dead as Freddie, Millie, and Jem. They’d drunk a lot but not two entire bottles of whiskey’s worth, as in Freddie’s case, or three in Millie and Jem’s.

“Too much,” Freddie mumbled, clutching her blanket tighter. Her teeth were chattering and she couldn’t even begin to stomach the thought of food right now. Even the sight of it was making her feel queasy. 

“Not enough,” Millie disagreed, groaning and pressing her forehead to Freddie’s blanket-clad shoulder.

She’d wanted to drink away the reality of Brady being gone, Freddie knew, had wanted to drink so much that when she woke up she could believe he was back. But she couldn’t and he wasn’t. MIA or POW, Freddie wasn’t sure, she just prayed he wasn’t dead.

“Look alive, Fred,” Paddy said suddenly, though she didn’t look much better herself. “Rosie’s Riveters are coming over.”

Freddie lifted her blanket and covered her face, then rested her forehead on the table the same as Jem had. She’d embarrassed herself enough in front of Rosie last night, he didn’t need to see her pale and sickly as she fought the demons of the morning after as well.

“Ladies,” Pappy greeted as they neared. Rosie and his crew took seats at the empty table beside them, echoing their own greetings as they did.

“You okay, Fred?” Rosie asked, an amused smile in his voice. She could tell he had taken up the seat behind her from the closeness of his voice, wondered if he’d had to shoo anyone away for it or if they’d all just known to let their fearless leader take it.

“No,” she replied, her voice muffled from where she was speaking into both the blanket and the table. 

“You should eat something,” he told her, obviously noticing the untouched breakfast she’d pushed away from herself the second she’d sat down. “It’ll make you feel better.”

“Nothing will make me feel better,” she objected.

Rosie laughed and leaned forward until he could rest his hand on her back, heedless of the eyes of the rest of her table - except Jem, of course - on him. “Come on,” he encouraged her, dragging the bowl back towards her. “Just a little.”

“No.”

“For me?”

“No.”

“Ouch.” He knew his grin was so wide he was giving himself away to all of her friends - not to mention his crew, who were sure to tease him relentlessly about this later - but couldn’t seem to hide it. 

“Fred’s got a weak stomach,” Millie explained, swaying slightly as she tried to sit up straight and face Rosie. “She throws up when she’s anxious, when she’s overwhelmed, sometimes when she’s sad, and of course when she’s hungover. So you’d be better off not loading her up with ammunition, Rosie, if you want to know the truth.”

Freddie was sure she’d never been this embarrassed in her whole life. The problem was she couldn’t even deny it because it was completely true. She’d been the same ever since she was little, had apparently inherited it from her mother.

“Mils,” Freddie complained all the same. “That’s so embarrassing.”

“It’s the god’s honest truth, Fred, and you know it,” Millie countered. Freddie could hear the other girls giggling.

“Tell me you’re not thinking of liquidating your assets right now, Freddie, please,” Pappy all but begged. 

“Go away,” Freddie grumbled.

“Our old squadron officer used to call her ‘Prime Minister’,” Jem said, audibly grinning even though her face was still pressed to the tablecloth. “Because she’s always bringing it up for a vote.”

“Fighting words from someone who spent the morning with her head down the toilet,” Freddie retorted, finally sitting up. She let the blanket slip off of her head and pool around her shoulders, rubbing at her eyes and covering her mouth as she yawned.

“Leroy!” barked Squadron Officer Jones as she came stomping into the mess hall.

“Fuck’s sake,” Millie muttered, turning back to their table.

Freddie shrank into her blanket, pretending she hadn’t heard Jones’ call of her last name.

Jones wasn’t fooled. “Section Officer Leroy!” she snapped, marching up to their table.

Freddie sighed but didn’t look at her. “Yes, ma’am?”

“Congratulations,” Jones said dryly, clearly insincerely, “you’ve been promoted. To Flight Officer. Your reassignment training starts today at 1400. Your new CO will pick you up outside your hut. Don’t keep him waiting.”

“Yes, ma’am,” Freddie replied. Her heart had dropped.

“Get excited,” Jones said coldly. “You and I never have to work together again.”

“Lucky bitch,” Millie muttered.

Behind them, Pappy snorted.

Jones slapped Freddie’s new insignia down on the table, turned on her heel, and left.

Freddie watched her go, waited until she had left the mess hall, and then she mumbled, “Fuck.”

[courseyoulovemeyoudontknowme]

Suspicion (1941, Alfred Hitchcock)

06/09/2024

[cobalt-axolotl]

Birthdays in my AU’s

Edwin Alastair Carter (12/13/1890)

David mobi carter (01/13/1941)

Nikki Bora Carter {Maiden name is Cho Nikki Bora} (04/08/1953)

Kasey Roxanna Carter (05/06/1971)

Cassidy Noelle Carter (05/06/1971)

Nickolas Alastair Carter (06/16/1983)

Clover Makenzie Carter (06/16/1983)

William Alexander afton (06/21/1941)

Michael ray afton (07/07/1969)

Evan Fredrick afton (10/27/1971)

Elizabeth grace afton (02/01/1983)

Henry Lorenzo Emily (06/21/1941)

Charlotte valentine Emily (02/14/1969)

Andrew Montgomery Emily (08/09/1971)

Sam Giuseppe Emily (09/05/1983)

Vanessa michelle Afton-Emily (05/18/1993)

Gregory Anne Afton-Emily (02/14/2009)

Cassie Maxine Carter (01/12/2009)

Benjamin Mason afton (01/12/1995)

Adriana smith (03/07/1983)