#Transformation theory

[pinkeoni]

What’s up with all the werewolves?

Was thinking about my transformation theory and noticed some references to werewolves in and around the show.

In the Halloween episode from season 2, Will is scared by someone dressed as a werewolf before he has his true sight vision from that night.

The other two characters that scare him are a serial killer and a clown. Will is being stalked by a serial killer (Vecna) and has a fear of clowns which are mentioned again by Bob in the following episode. So if those two have meaning behind them, what’s the meaning behind the werewolf?

Season 2 also had a trailer set to Michael Jackson’s Thriller, which the music video for includes a werewolf.

Fun fact about the Thriller video: It was directed by John Landis, the same director as An American Werewolf in London. Jackson actually hired Landis for the video after watching the film and became impressed with his transformation fx.

There’s also the appearance of the Teen Wolf poster in Family Video, as well as the verbal mention of it from Robin.

@chirpsythismorning deep dive on Teen Wolf here

“When did Steve get so hairy?”

Maybe this just a throwaway line, although the earlier references to Teen Wolf in this season makes me wonder if Steve’s sudden hairiness and the attention drawn to it is a small references to werewolves. If so what’s the deal with all the werewolf references?

Maybe it’s just a nod to the fact that Vecna went through a physical transformation, or is it something else? Could it possibly be foreshadowing to something we haven’t seen yet?

[movedtodykedvonte]

Did the caller drag Spamton into a f-cking phone? (About the last chapter)

Also this idea, about Spamton dying on the street and possessing the puppet, is it appliable to the fic? (Yeah, yeah, we love Spamton, but we also like to hurt him)

Cause, well, if addisons ever find out about it.. geez.

Sorry but the fic does not use the dying on the street headcanon, that's an idea I play with more than actually use. Though, the ads may believe that is what happened before they got him back (minus the possession part)

The caller did not drag Spamton into the phone either. I was trying to allude through the burning feeling Banner felt, the splotches and the pattern of the mess that Spamton's normal body was transformed in a very gruesom way, the feeling akin as if he been dropped in acid. I'm a big magic puppetfication theory, sometimes I like the slow transformation but I decided to go the quick route here. The caller could have made it painless bit it's a bitch.

TLDR; Spamton pissed off the caller and got a rather perminant punishment for it. The mess was simply the collateral of him trying to escape something he couldn't and being in agonizing pain.

[keferon]

......So originally I wanted to make just a sketch of the hug scene but mhmgkhllgkh here we are haha

Based on Mistakes on mistakes until

+ close ups of their eyes because I sprinkled them with the tiny extra details

[transformer-analysis]

Transformer Prime Details I’ve Noticed

The Autobot’s computer keyboard keys are short, small and squarely.

maybe cause it’s built with Ratchet’s square fingers in mind:

The Decepticon’s keyboard keys is long and sleekly:

Probably cause it’s built with Soundwave’s long and sharp fingers in mind:

pat on the back for the designers who considered this

(Orion Pax trying to type on the Decepticon’s keyboard with his giant wide square fingers)

[no-lullaby]

[ninjasmudge]

g1 autobots

[whirlandco]

here’s how knockout-in-disguise can still win

[chefbeepo]

Me thinking abt the other lost light: wow scary they all died lol

Me thinking abt the other lost light for .1 second more: Brainstorms suitcase was open when Nautica and Night beat found it. He must've tried to use it to undo the horrific fate he accidentally created but clearly didn't make it in time, leaving him to die watching all his friends and crew mates die by his hand. All of which proven by his horrified expression on his dead body.

[lockheed-martin-unofficial]

In Transformers Prime, Cybertronians are apparently vulnerable to extreme cold. (“You know prolonged exposure to sub-zero conditions can cause permanent system damage.” -Ratchet, S1 E7)

They are in danger of freezing when they go to the Arctic which continuously becomes a plot point, but somehow handle themselves just fine in space which is definitely way colder. Which leads me to believe it’s probably not the cold itself that’s dangerous to them, but the moisture in the air that freezes up around all their joints and crevices that immobilizes them.

The humidity in the Arctic is actually quite low, but in a snowstorm (like the one we see in S1 E7 where Optimus and Arcee nearly die) the snow that hits their bodies could totally melt from their body heat only to re-freeze around them as clear ice, expediting the process. It would gradually make it more and more difficult to move.

It’s like the clear icing that planes encounter when they fly through moist air, where supercooled water droplets freeze on their surfaces and make it difficult to move the control surfaces on the wings. Which is why I imagine flyers are probably more resistant to the cold+moisture conditions, since they already have built-in anti icing. Starscream does complain about the cold a lot in S2 E13, but that might just be Starscream being Starscream, or just trying to manipulate the others into letting their guard down. Dreadwing and the flying vehicons don’t appear very bothered, but then again neither does Optimus, so that one is staying as a headcanon for now. Maybe Starscream is bothered because he doesn’t have paint for extra insulation.

Optimus does say “the current temperatures are not extreme enough to affect our biology.” during that episode, and when he does there’s only a little bit of snow, which might confirm that when they say “temperature” they actually mean “moisture”. I don’t know.

[dezmolad]

So in "Sick Mind" its told that Megatron made the virus of cybonic plague. But isn't that kinda. You know, impossible. I mean, he was a gladiator what could he know bout making those. It just doesnt seem true? SO. What if the virus existed long before the war. What if it was a disease that was spread out videly, but touched lower classes, like miners. But since they were dying quickly anyway in the conditions they were living noone actually cared enough to classify this particular virus. Later on, when decepticons gain more power and more members like Shockwave they classified the disease, developed a cure for it, and eventually weponised it. This all business with Megatron inventing it all could be just, you know, propaganda to make autobots shit their pants more. OR EVEN autobots could come up with it by themselves, not accepting the degree of which lower casts of society were forgotten before the war. and Megatron just used this belief for making himself seem even bigger threat.

[powdermelonkeg]

Cybertron's Location

Okay so Alpha Centauri is named as Cybertron's star system in multiple continuities.

Easy, right? Just make up a planet for Cybertron to be. Plausible enough that there's one out there we don't know about.

NOPE. I found a spot for it.

The Alpha Centauri system has three stars in it. These are Rigil Kentaurus (α Centauri A), Toliman (α Centauri B), and Proxima Centauri (α Centauri C). I'm going to be calling them by their non-ABC names for distinction.

Alpha Centauri, as we see it, is Rigil Kentaurus and Toliman's lights being indistinguishable from one another. Those two are a binary star system of sun-like stars, so their orbit intersects and they look something like this:

Meanwhile, Proxima Centauri is a red dwarf, and orbits at a pretty far distance, like so:

It's still part of the same star system because it still orbits around a common point, but in any planet that orbits Proxima, Rigil and Toliman just look like exceptionally bright stars in its sky.

So the question THEN is, which star does Cybertron orbit?

Proxima's the most obvious candidate. It even has a full planetary system:

Proxima Centauri b is in Proxima's habitable zone (the area where water could feasibly exist as liquid), and it's just a little bigger than Earth.

Generally speaking, Cybertron is depicted as larger than Earth, so let's set that aside for this post.

Proxima Centauri d is a tiny planet that's closer to Proxima and no smaller than a third Earth's size.

Proxima Centauri c is either a super-Earth or a gas dwarf, about 7 times Earth's mass, which is disputed both in its nature and whether or not it's really a planet (it's complicated). Regardless, it's outside the habitable zone.

So it could be Proxima c. That's our default option. The biggest problem is the lack of a habitable zone, because, while giant robots don't necessarily need comfortable heat to live, there's the whole "acid rain" and "sea of rust" deal that'd be hard in a planet that far from its sun.

Granted, sometimes Cybertron is seen hurtling through space without a sun or any of those features to speak of, but I'd like to account for it.

So what about the other two?

Toliman was claimed to have a planet orbiting it in 2012 (α Centauri Bb), but by 2016, it was more or less conceded that said planet didn't exist.

Rigil Kentaurus, on the other hand...

Meet Candidate 1 (α Centauri Ab).

It orbits within Rigil's habitable zone, has a period of about a year, and has a mass between Neptune and half of Saturn, with possible habitable moons.

Does it exist? Maybe.

The thing is about Candidate 1 (yes that is its real name) is that it wasn't observed for long enough to confirm its existence. It COULD be a planet. It could also be dust that got captured, or an artifact of the observational instruments.

THIS is my proposal for Cybertron.

TLDR: There's a (possible) planet that orbits the brightest star of the Alpha Centauri star system in its habitable zone and it's bigger than Earth.

[pinkeoni]

And if Will’s scrapped letterman jacket is actually meant to be a reference to the werewolf from the Thriller music video and Teen Wolf and not an indication that Will is sporty?

[im-this-kind-of-girl]

Aziraphale and Crowley's unhinged character analyzis (pt1)

Controversial opinion:

Aziraphale and Crowley at the end of Season2 managed to accomplish the main goal they each had since the beginning of time. Only to realize that what they wanted no longer made them happy.

It sounds crazy, but to explain myself I have to do an in-depth analysis of their personalities and the possible transformation arc that both characters are probably going to have at the end of the Good Omens story.

Disclaimer: I have no idea about what is going to happen in Good Omens. This analysis could clearly be considered a theory since I'm not Neil Gaiman, but as someone who knows about narrative and character structure, I'm going to elaborate. Also, English is not my first language, so sorry in advance.

Aziraphale

First let's talk about Aziraphale. For two reasons, firstly because he is the one who seems to deserve the most defense right now; and second because Aziraphale, in my opinion, is the main character of Good Omens. This is because Aziraphale, out of the two, is the one who is likely to have the biggest change in his personality once his arc ends.

In a story, especially one like Good Omens with many characters, it is common for there to be many arcs, as every character has something to learn. Crowley, as a co-protagonist and love interest, is clearly going to have a change at the end of the plot, but his change won't be as big as our angel's.

First things first, what is a transformation arc?

It is the transformation that a character undergoes from the beginning to the end of the story. Basically, at the beginning of a story, a character is in a certain state of equilibrium, he lives and thinks in a certain way until he is exposed to a situation that forces him to act outside of his comfort zone. During this, he will undergo different changes that will be reflected in actions that take him away from his natural state until the climax, where the character will make a decision that will change his normality forever. This is important. In every story, the climax marks a before and after in the protagonist's life: whatever he decides at this moment has no turning back and will mark his life forever, so that after the climax, the character may again have a state of equilibrium but different from the initial one.

What is the climax of Good Omens? Well, in the 1st season we have the bodie swap and in the second season the separation of Crowley and Aziraphale. But of the story itself? It's still a mystery.

Neil Gaiman has already confirmed that Good Omens is a three-act story, so its climax will be located at the end of season 3. We still don't know what definitive change there will be in our characters… although throughout the series we have enough clues to at least know what they probably have to work on changing.

Aziraphale's Role

In order to analyze Aziraphale we must begin by understanding his role within the angelic hierarchy. Aziraphale was created as a Cherub and then, after Eden, became a Principality. Both ranks have one thing in common: they are guardian roles.

Cherubs are second in the highest circle of heaven, below Seraphims. They are described as "guardians of the universe from a divine plane and without direct contact with humans, although they positively influence them". On the other hand, Principalities are seventh within the last circle of the angelic hierarchy, and the highest rank within it. They are the guardians of nations and countries, overseeing global events within politics and commerce.

So, Aziraphale was created with the main purpose of being only one thing: a soldier. His function is to obey and protect objects, places and beings. That is why he was the angel who received the sword of fire, his task was to protect Eden. But he also has a very strong sense of intrinsic goodness that has led him to make erratic decisions throughout history that question just how much he is willing to obey orders.

If Aziraphale feels that something is wrong, he won't do it. It doesn't matter if he has to go against Heaven or sin. It doesn't matter if killing a child saves the rest of the world, he won't do it. It doesn't matter if God will grant Job new children, he can't stand idly by. These actions make him stand out from the rest. A simple soldier just obeys while Aziraphale has a critical mind, he has too strong of an opinion about right and wrong. If an event happens that he considers evil, Aziraphale will go to great lengths to prevent it.

It is remarkable that the first thing he did having free will was to give his sword to Adam and Eve. Of course he did it with the function of protecting them but, by giving them his only weapon, Aziraphale was left in a serious state of vulnerability. He did it because he is good and kind, but it could also be considered an act of sacrifice. Here enters another important issue when talking about Aziraphale that relates to religion itself.

The Martyr Hero

One of the most basic conceptions about the Christianity is that without sacrifice a person cannot really be good. Jesus was crucified to free us from our sins; Job sacrificed his whole life to prove that his faith was genuine. Even centuries later, the ecclesiastical institution maintains that the more you suffer, the poorer you are, the more chances you have of ending up in Heaven.

All the sacrifices made in life will eventually be rewarded in the Kingdom of God. It is the eternal figure of the martyr that is worshipped in Church, the idea that to really love, to really do good, sacrifices must be made.

Aziraphale believes this blindly. Now, he is an angel, not a human. He will not have an eventual reward of any kind, and that does not matter to him, because he considers himself lucky to be able to be a being of light who brings happiness to others no matter the price he has to pay. He was willing to fall only to save the lives of Job's children just because it was the right thing to do.

Performing actions for your own happiness without thinking of the consequences is frowned upon throughout the Bible. It is considered selfish and is a great source of guilt for all its faithful.

There is a line from the Good Omens Musical that has always stayed with me. When they argue, Crowley tries to talk some sense into Aziraphale by claiming all the reasons why he should help him avoid Armageddon, to which Aziraphale replies "you and I are not important."

Why didn't Aziraphale quickly give in to the proposal to stop the end of the world? Why didn't he tell Crowley where the Antichrist was without hesitation? Why did he help Gabriel in spite of everything? Why didn't he kiss Crowley back although he wanted to?

Truth be told, Aziraphale does not prioritize his own happiness because he does not consider himself important.

At the center of it all is God, good and ineffable who would never let anything happen unless it is not amenable to the greater good, then there is all the rest. Aziraphale believes he is just a soldier with a mission: to protect the Earth and everything he considers worth saving. He is not on this list: his welfare does not matter to him because, in the grand order of things, Aziraphale does not believe he is important.

There is no afterlife reward for him, though that doesn't stop him from feeling guilty about wanting it.

Aziraphale's dilemma

Aziraphale's great dilemma ould be summed up as:

Do I do what I want or do I do what I must?

Should he obey the rules or get what his heart yearns for now that it is within his grasp?

Throughout Good Omens, we learn Aziraphale has given into various temptations such as food. But these sins are small in comparison to what he really wants. For how does he explain to God that what his heart desires the most is to be able to love the Serpent of Eden?

He is madly in love with Crowley. He could lose everything: his bookstore, restaurants, music, art, but the feelings he has for him will never go away. It were years of repression, believing that if he loved him in silence, everything would be okay.

Now, in the season finale, Crowley expresses it, confesses and kisses him, offering him what he has always secretly wanted on a silver platter.

But Aziraphale was also offered a place in Heaven, finally being accepted by the family he misses. Aziraphale spent the entire 2nd season getting involved in trying to save Gabriel, in bringing Maggie and Nina together, getting perhaps a little too invested because he clearly missed having a purpose.

He was not well emotionally. He missed feeling that he does good because, despite everything, he believes in the potential that Heaven has. Aziraphale knows that if he is in charge, if he gives up everything that makes him happy, if he stops being selfish as he was all these years, he can make the necessary change to prevent the End of the World.

Aziraphale is a soldier whose main goal has always been to protect. Becoming the supreme Archangel he is able to protect everyone he loves. Because of this, he decides to sacrifice his earthly happiness and make the most difficult decision but the one he feels is right: to leave Earth, reject Crowley and become Head of Heaven.

The end of his arc and Crowley

Like any arc, Aziraphale's is clearly at the end of the story. He's already changed a lot, and he's done mostly so because of Crowley. Not just because of love, no, Crowley manages to awake something in him. Crowley is the driving force that encourages change in him, that reaffirms or questions his beliefs whenever he is in doubt about whether something is right or wrong. He inspires something that Aziraphale, an obedient soldier of the Lord never had: freedom.

Obviously, our angel always had that spark of freedom, though repressed, hidden in the darkest part of his being because he knows it is something that makes him different from the rest and he doesn't like to admit that he doesn't fit in Heaven.

Because this means that he doesn't fit in Hell either, nor on Earth completely. Ergo, admitting to being different means confirming his suspicion that he doesn't fit in anywhere. But he never had to pretend this with Crowley.

Knowing all this, how will Aziraphale's arc end?

Well, he's going to have to choose between heart and duty again. Aziraphale is going to want to save Earth at the Second Coming, that's obvious. He is going to be forced to disobey Heaven once again as he realizes that he cannot change them. In this way, he will confirm something tragic: his sacrifice was in vain.

But it is necessary that he can assume this in order to understand that he is wrong:

It is not necessary to suffer in order to deserve love.

It is not necessary to sacrifice everything that makes you happy to prove you are good.

Eternal sacrifice is not the solution. Aziraphale has to learn that being happy and being loved is not a reward that has to be given, no, it is something he is worthy of without the need to sacrifice his life. Aziraphale must understand that he does not have to prove that he is a good person by martyrdom. He is a good person because he is empathetic, smart and sweet.

The secret is to find the balance between love and duty, between good and evil, to embrace his freedom and find happiness by accepting his mistakes that make him different from the rest. The easiest way is to learn to love in the most genuine way: the human way. Discovering that love does not necessarily have to be painful or repressed, that he can do it openly, that what he feels is not a test of faith, but the reward he has been waiting for all these years.

Aziraphale will ultimately become free through Crowley's love.

[adeleine-everyday]

day 109

magical girl adeleine! 💫

[transformer-analysis]

Transformer Prime Theory: The Optics

It’s interesting how, in TFP, the characters all have a variety of optics sizes and shapes, instead of everyone having plain solid colours like in G1 and most other continuities. And I personally believe there is some more biological reasons why some of these optics look the way they are (some big, some small, some solid colours and others not, and some having rings and others not).

TW: starvation mention.

THEORY #1:

The size of the optics is determined by how well fed and healthy the transformer is.

Firstly, we can see that most Transformers with big optics are Decepticons, who we always know have more Energon mines and supplies than the Autobots.

Secondly. Megatron has a big optic that take over the entire frame, and he is totally someone who would have a feast himself first before feeding his subjects. On the contrary Optimus have one of the smallest optic in the show, probably because, unlike Megatron, he would only eat himself when he knows his subjects are well fed. (Poor Optimus)

Thirdly, Breakdown and Bulkhead also have some of the biggest optics in their teams. Breakdown is one of the few in the show whose optics are complete solid colors, and, although Bulkhead’s optics are not solid colours, or completely take over the frame, they are still much bigger than most other Autobots. This is probably because they are both the muscles of the team so they must have been fed more so that they can be stronger and fight better. (Cliffjumper might have been one, too, because he also got a huge optic, but we never hang around him enough to know for sure)

Fourthly: Bumblebee also got big optics, probably because he is the youngest Autobot, and is probably still growing in a way, so everyone would want to make sure he got enough nutrients to grow up big and healthy.

Fifthly: I think this is the best proof of all. So throughout the show Starscream’s optics are always quite big and round (though it is not always obvious in bright lightings).

(“Partner”, Season 1 Episode 20)

However, in the Orion Episode, while Starscream was sneaking into the Nemisis to steal energons, his optics suddenly fill the whole frame

(“Orion Pax Part One”, Season 2, Episode 2)

This is likely because, since Starscream had gone rogue at this point, and we know that in “Rock Bottom” (Season One Episode 19) Starscream has been hiding energons for himself, perhaps Starscream hasn’t yet learned how to manage supplies sustainably on his own, and quickly drained his resources that he’s hide for himself before. Thus, more energons in the eyes. That’s probably also why he has taken the risk to go back to the Nemisis to steal Energon cause he was out of it already. He was living feast or famine at this point.

Now, there are some bugs in this theory, such as why Knockout have such a small pupil despite not having any reasons to starve. However, knowing Knockout and his obsession with his appearance, I believe he would totally put himself on a diet to look even more fabulous. I don’t think Transformers can really gain weight from Energons, though, at least not in the way we think, but Knockout could also just love the look of a small optic and think it fits his beauty, so he starved himself to achieve that.

One question you might have for the theory, “But it has been going around that Ratchet starve himself to save the supplies for the others, but his optics are big?” Now. Ratchet, I believe, is a different situation, which leaves us to theory #2.

THEORY #2:

The ring around the optic signify how intensely the optic was used.

Firstly, like mentioned above, Ratchet have a special optic: his centeral pupil itself is pretty small, similiar size with Optimus’s, but it got a big ring around it, making it look big. Now I think the ring have nothing to do with how well fed the Transformer is, like the theory above, it is there to supply more Energon to the function of the optic, and making it sharper basically. Knockout also have one, probably for the same reason as Ratchet.

Secondly: Bumblebee also have one. Understandable. He is the scout, he need to look afar a lot.

Thirdly: if you look closely you can see that Optimus got these colorless, metal ring around his optic, too, which no one else have, but it doesn’t have Energon in them. This is probably because he probably used to have them, as Orion Pax, who was an archives working in front of computers all the time. But over the years of not using it in the same way as much as the Prime, Energons left the ring and left the area, leaving the empty ring behind.

Now, there goes my theories and how I think the optics works, kind of. There is still a lot that I am still working on and might make another post off in the future, such as why some of them had a white ring/circle in their optics (I don’t think white rings work the same as blue rings, cause Bulkhead have a white ring but he doesn’t have any reasons to need good vision more than others.) and why their optics are different colors.

I hoped you enjoy this

[embracing-the-ineffable]

Ineffable discontinuity and the Bentley's roadtrip transformation: new back doors and other changes (after it was yellow), and Crowley... didn't notice?!*

*Also, as a side observation, did he leave the Bentley window open during the ball and everything that happened after? Why?

Have you been longing to be even more perplexed by the ineffable discontinuity of Good Omens season 2? Do you love endless data in the form of screencaps? If so, then please join me on this wild ride! Here are some highlights:

Top photos: Season 1, episode 6, after Adam reboots reality; S2e2, before Aziraphale's e3 road trip. The Bentley is a gray and black 2-tone car with 2 doors (only 1 handle is visible on each side).

And on the bottom is s2e5, while Crowley is driving, it's a solid black car with 4 doors and smaller silver hubcaps.

(edit: For those of you thinking about the different Bentley models used in s1 vs s2 (discussed in detail below), or the difference between the full car and half car set, just those three full car pictures above demonstrate that the new s2 Bentley model is NOT the reason for this mid-season shift. For more details about the half car set plus other ways to tell the Bentleys apart - without talking about color - see my newer post with handy diagrams, here.)

And the s2 interior?

Here's e1, after Crowley talks to Shax, and e3, as Aziraphale arrives in Edinburgh (which is also when the Bentley debuts as a 4-door). And look at this blocking - how both characters are posed so similarly with their backs to us in these shots!! It's so deliberate! :

And look at the seats! In e2, Crowley is talking to Shax again, and in e5, Crowley just parked the Bentley before the ball:

When Crowley, who is so tuned in that he senses the car is yellow and driving too slow even from a distance, sees the "new" Bentley in e4, he doesn't act as though anything has changed, he just happily and purposefully walks up and opens the back door that was never there to put his plants inside.

THE BACK DOOR THAT WAS NEVER THERE

For that matter, Crowley and Aziraphale both seem to be unaware of the changes! This feels like both a metaphor and a functional plot device for season 3. There's more discussion at the end of this post!

Thanks to comments and observations awhile back from @bbbitchvibbbez , I did some careful searching for s2 scenes featuring the Bentley, and this post is the labor of love and irrational obsession result!

If you want to see lots more Bentley screencaps and discussion, including Crowley nonchalantly using the new back door, and possibly also leaving the Bentley window open during the ball and everything that followed, please keep reading:

Some background and context:

Ok, so there was a different Bentley "actor" for s2. The s1 actor was a 2-door, the s2 actor is a 4-door. If you look carefully, you'll see that in s1 the backseat side windows are smaller than the front side windows. In s2, they're the same size. I talk more about the windows - with handy diagrams! - in my newer Bentley post, here.

There's also been some controversy about the interior color of the s2 Bentley, black vs brown, and how that could relate to the s2 body swap theory; here are details about that from @lonicera-caprifolium and @picturesque-about-it. I don't think my findings support (or disprove) that theory, but take a look at what I found and see what you think!

(*Please don't ask Neil about any of this, he's already given us the answers he wants to give, and he's not going to spoil the surprises in s3 now by telling us what's really going on!*)

Here's the episode/scene breakdown:

S2e1 on the street with Shax - gray, two toned, two doors (one visible door handle on a side), brown interior - both the seats and the inside panel of the door. Notice how the door is hinged at the back, and opens opposite the way most modern cars do (this is called a suicide door):

More s2e1 photos, the Bentley is in a lot of scenes this episode and as far as I can tell it stays the same gray 2-door for the whole episode, but it's frequently in dark lighting to make it harder to tell it isn't actually black (I've brightened most of these shots). It also has larger silver hubcaps, and I notice consistent brown seats (these interior pics are from three different scenes):

In s2e2, the Bentley is only in two scenes, and it's the same as s2e1. Now, you can see in the larger photo below that it's obviously not the SAME as s1 - the backseat side windows are too long - but the production team DID try to make the new Bentley "actor" look the same as in season 1. It's a gray 2-tone car with 2 doors (1 handle visible on each side) with larger silver hubcaps. As an aside, what's with the red lights on the car in this shot?? I mean, yes, it's a reflection of another car's brake lights, but why put that onscreen?

Also, in case it's relevant, Crowley is wearing his turtleneck throughout this episode, and still has the silver-sided glasses from e1:

Ok, now we have s2e3, and as Crowley meets Muriel and gives Aziraphale his car keys, we see he's no longer wearing the turtleneck, AND this is when his glasses change to black-sided ones:

Outside, we see the Bentley looks the same as the rest of s2 thus far, as Aziraphale sets off for Edinburgh. Gray 2-tone, brown interior (with window bullet hole decals very visible), with larger silver hubcaps. There's only one handle visible, so it's still meant to look like a 2-door:

Ok, here's where things start to change! Azi is driving and the Bentley is yellow. The seats might (?) be black, there's still only one door handle on the side, the silver hubcaps are still larger. But when he "changes it back", NOW it's black:

And by the time he pulls into Edinburgh, Transformation Complete. (Did Something Else Happen?? Or is this an effect of Aziraphale finally being welcome to take care of this extension of Crowley? More speculation at the end!) It's a black 4-door, two handles clearly visible on the side, with smaller silver hubcaps:

And the interior? The door panel, at least, is black now - and it has a texture that wasn't there when it was brown. Here's e1 next to e3 (and appreciate, again, this very intentional parallel blocking of the two actors!):

In s2e4, we see the Bentley in two scenes; at the beginning when Aziraphale meets Shax-as-hitchhiker, where we see the bullet holes and the black door lining, and at the end when the Bentley is reunited with Crowley:

When Aziraphale parks the Bentley back at the bookshop, we see the bullet hole decals and that it's still a black 4-door:

So he goes to meet Crowley, they come back with the plants. We can see that the camera is to the rear of the car, and the front of the car is to their left. They're standing on the left side of the car. If Crowley opens the door, we won't see the interior door panel, right? Because the Bentley doors are hinged on the back, instead of the front, so the door will open towards us:

WELL. Mx "I can feel when you drive below the speed limit" and "change it back!" Crowley very eagerly walks up to the BLACK car, greets it with some sweet baby talk, and then opens the suddenly-existing BACK door with a hinge on the front (so it opens away from us) as if this is All Perfectly Normal, and we can (barely) see the door lining and it's BLACK and textured:

A few more shots of Crowley, standing at the brand-new back door of the Bentley, still wearing those black-sided glasses:

And in case you're wondering, in s1e2 when Anathema gets a ride in the Bentley, she climbs into the backseat from the front driver door, and she climbs out through the front passenger door. There wasn't a back door on either side. Here she climbs into the Bentley, and you can see Crowley fold down the front seat, and there's clearly only one door on that side, and it's hinged at the back. (When she gets out on the passenger side, it's harder to see, but you can tell that door is also hinged at the back.) :

In s2e5, Crowley drives the Bentley to the bookshop, and then we only catch a few small glimpses of it while Aziraphale is recruiting shopkeepers to the meeting/ball. Here's Crowley driving the black 4-door Bentley with small silver hubcaps, and here he is getting out of the car with black seats. The front door is still hinged at the back, as it always has been. The window is open - his hand is reaching through to open the door - so we can't see the bullet hole decals:

The next time we see more than a hint of the Bentley, it's the end of s2e6 and Crowley is standing next to it, watching Azi leave with the Metatron. It's still black, with 4 doors and black seats and smaller hubcaps. We don't see the bullet hole decals, but perhaps the window is still open from when he parked it in e5? (And WHY would he leave the window open? Was someone supposed to come by after he parked it to deliver something to the Bentley, or take something out?) Emotional photos ahead:

I over exposed that last picture, to make the colors really easy to pick out. The seats are absolutely, definitely black.

So... what does it mean? Why did it happen, and why didn't Crowley notice or react?

I love the metaphor that Aziraphale subconsciously created a back door for - or into - Crowley, especially with all those references to the "back channels" of communication between heaven and hell. I'm thinking it could represent - or actually be - another way for them to communicate, or like another entrance to his heart; it's something that Aziraphale doesn't realize he changed or added and that Crowley hasn't noticed yet either, even if he's making use of those changes on some level. I'm sure other metaphors could also fit!

And I'm reminded of something @theeminentlyimpractical said, "Crowley, despite his whining, fully accepts the idea of "our car," which fundamentally transforms the Bentley". That post was liked by Neil, so there could definitely be something to this "our car" transformation line of thinking.

So, was the transformation a subconscious effect of Aziraphale finally being welcome by Crowley to drive the Bentley, and caring for and taking responsibility for this part of Crowley? Or did Aziraphale consciously do this, or did Crowley? Or maybe the Bentley is sentient, and it chose to be bigger/different now, to accommodate both of them. Or did the change happen in response to Something Else We Didn't See?

Is Crowley's (and Aziraphale's) apparent non-reaction another example of an unreliable narrator or some memory tampering? Is manipulation of the Book of Life involved? Are there multiple timelines? Is someone time traveling? Or is it just that Aziraphale and Crowley already discussed the changes off screen, before Aziraphale left Edinburgh?

If Crowley noticed the changes, I would have expected a comment about them. Either, "change it back!" or a reluctant, "those are changes I can live with", or... Something. But instead, the production team went to some trouble to make sure the hints are there, but hard to spot (you can review the similar, careful s1 hints about the appearance swap here, from @fuckyeahgoodomens); as opposed to, for one example, the way they very clearly pointed out Maggie's mysterious spelling mistake, both on screen and in the dialogue. So I feel reasonably certain the Bentley's transformation is a careful, subtle hint about a Secret Something Important That Will Be Revealed In Season 3. I think it's both a metaphor and a plot device*.

What are some of your favorite metaphors? Your most reasonable theories? What about some of your biggest, wildest, most improbable theories?

*And if you enjoy Good Omens metas, theories, clues, etc, I have a big pinned collection of those from the fandom, here!