#behold the Metatron

[ourtubahero-blog]

[aggywytchking]

Coffee theory, Lie theory, Body-swap theory, Az has trauma theory—-

I propose my good people: ALL OF THEM

S2 Good Omens Spoilers ahead as well as s3 predictions

Let’s start with the first and most common: the coffee theory.

Coffee theory is simply that Metatron did something to Az’s coffee to make him agree to leave Crowley and go up to heaven.

Now there is no denying that coffee has played a suspiciously conspicuous role throughout this season. From the coffee shop (oh we will come back to the coffee shop at the end my friends, don’t you worry), to Crowley’s espresso order, to Metatron’s suspicious offering, and the coffee cup making an appearance in the opening sequence.

I am never one to cast aside what writers are so obviously trying to shove in an audience’s face.

Do I think that Metatron drugged Az’s coffee in some way? Not really no- I believe coffee might be a symbol for sun here, almost Az’s own Apple as it were.

Throughout the show we have never seen Az drink coffee, only Crowley and humans, both of who are capable of sin. (Also Crowley chugging down 6 shots?). Az drinks tea (unspecified) and offers hot chocolate, but never coffee.

Coffee has no biblical ties- BUT in LSD/Mormonism has a rule against it.

This stance dates back to 1833, when Joseph Smith Jr., the founder of the Church, received what he called “a revelation from God” that said: “hot drinks are not for the body or belly.” -source

Shortly after this “rule” it was updated to allow herbal teas, and in modern times hot chocolate.

Now why would a Mormon rule apply here possibly? Because I believe it may apply to s3. The initial planned sequel to the book has been said to pertain to the second coming of Jesus in America.

After Jesus' resurrection, according to the Book of Mormon, he visited America. In fact, America plays a special role in Mormonism. Mormons believe that when Jesus returns to Earth, he will first go to Jerusalem and then to Missouri. -source

The Book of Mormon references Jesus visiting America- and I don’t think the writers would make one silly tie in and just leave it at that. If we’re saying they’re right on one prophecy, why not add this to it?

I find it silly and impossible to believe that our little human food lover has had it all but was unfamiliar with how espresso would effect him. I also find it highly suspicious how much of the marketing revolves around the beverages our characters drink.

I do believe there is also stock in the almond syrup as everyone else has pointed out.

In context, God had just given Israel a warning. “I have this day set you over the nations and over the kingdoms, to root out and to pull down, to destroy and to throw down, to build and to plant.” (Jeremiah 1:9-10) Then after Jeremiah sees the almond tree, God shows him a boiling pot over Jerusalem which portends “calamity”. (Jeremiah 1:13-14) While the almond is a sign of hope that God will eventually fulfill His wonderful promises to Israel (or to us), the context is more ominous. Later, God repeated the warning through Jeremiah: “Behold, I will watch (shaked) over them for evil, and not for good…” (Jeremiah 44:27). God’s message to Israel was that sin has consequences and there will come a time of reckoning – namely the destruction of Jerusalem and the captivity of Israel. Years later, Daniel would pray: “Therefore has the Lord watched (shaked) upon the evil, and brought it upon us: for the Lord our God is righteous in all His works which He does: for we obeyed not His voice.” (Daniel 9:14) -source

That last bit really gets me because Metatron is the voice of god as we know. So the coffee is a combo threat as well as a type of temptation, like the apple. (“Are you going to take it?”) We know that in the s2 opening we see Adam’s (of the garden variety) grave and we are supposed to learn about his death in s3. I think Az falling to temptation will tie into all that.

Back to the moment in question- a lot of people pointed out a miracle sound occurring faintly when the Metatron handed over the coffee. It’s been floating around that this was him doing something to the coffee .

I disagree- I think that was Crowley protecting Az. We don’t see him immediately in that shot- and him being on the other side of the room would be why it was so faint. Metatron’s glare wasn’t one of pure dislike- he sensed something then and was suspicious.

Crowley is overprotective on a good day- but he knows Metatron and does not appear to hold and fondness to him. I think he knew no good was to come from the conversation and wanted to protect Az of anything that could occur. So the coffee didn’t actually end up effecting him at all.

All that summed up to say: coffee theory doesn’t tell us why Az does what he does- but it does tell us why Metatron thinks everything is working out in his favor.

Next up! Az is just traumatized theory

It has been pointed out that Az’s decision in this moment is actually pretty on brand for all that he’s been through. And I would agree!

Of course he wants to be in heaven’s good graces, of course he wants to fix the world-save the humans- overhaul the system, of course he is still seeking validation.

That’s why when offered the position he jumps at it! No mind inducing coffee needed like the Metatron had thought. It’s just that what Metatron doesn’t know is that Az is agreeing with his own motives in mind. He wants to make a world safe for humans, he wants to make a reality safe for him and Crowley, and he wants to come back to his bookshop at the end of it all.

All that summed up to say: Az trauma theory tells us why he decided to take this path- but doesn’t explain the offer itself (coffee theory did that), or why he presents it the way he does

Next: The Lie Theory

This theory comes based around the idea that Az is lying to both Metatron and Crowley.

This season taught us something very crucial about angels in general and our favorite, Az. It showed us that angels are not supposed to be able to lie- and that Az willingly does on multiple occasions.

Lying is definitely a big deal in the Bible. It is one of the Ten Commandments in fact.

One of the Ten Commandments is "thou shalt not bear false witness against thy neighbour"; for this reason, lying is generally considered a sin in Christianity. -source

It is no small thing that Az commits this sin- although I’m sure he puts himself through all sorts of mental gymnastics to do so. From what we can tell, he only does so to protect. In this case, we can assume he is trying to protect Crowley.

The lie in theory is that during the secret conversation with Metatron, some sort of threat against Crowley may have been made or that Az simply needed to figure out a way to drive Crowley away from him (or possibly goad him).

So when Az is telling Crow that he can be an angel again, this is a lie knowing that he would never go for it. Then when he reports back to Metatron he lies (by omission) what he actually relayed over to Crowley.

Why such a harsh lie though? Why hurt Crowley so deeply- surely there are other ways to push him away from danger.

Because he was trying to goad him- he was trying to rile him up.

So to summarize: The Lie theory tells us why Az delivers his news how he does- but not to what end

Now: The Bodyswap Theory

Bodyswap theory is essentially that Az and Crow switched bodies again during the kiss to go about and solve the issues at hand.

Now we know from s1 this is possible- but I don’t exactly think that’s what happened. We learned this season that angels also appear to have the ability to store memories or consciousness ~elsewhere~ and that both of these seem to require physical contact to occur.

What I believe happened here was that Az transferred some sort of information to Crow (a memory- what happened in the conversation-etc). That’s why kiss was, uh, not quite so quick and chaste and why Az was goading Crow in the first place. Also possible Crow transferred some knowledge (or abilities) back.

We have seen that Crowley is actually rather easy to rule up- and that Az has succeeded in doing so multiple times.

I don’t think Az was expecting a kiss (poor soul)- but he was expecting to be grabbed or something.

To summarize: Bodyswap theory explains why Crowley didn’t immediately burn the world to the ground

Now looking ahead to s3 and my own silly theories off of all of this. Aka: gentleman start your engines theory

This theory will hopefully explain those last few painful moments.

“I forgive you”

“Don’t bother”

For what? The kiss? The not going to heaven? All of it?

No- for what Crowley is about to do. Aka raise hell on heaven.

Whatever information Az passed along- Crow’s response was some sort of inkling of a plan towards destroying heaven and the system as we know it. A revolution of sorts.

The revolution has been hinted at since the end of s1- ever since our precious coffee shop sprang into existence (told you I’d get back to it).

The quote that the title of the shop is referring to is “Give me liberty or give me death,” from founding father Patrick Henry’s famous speech credited with swinging public favor to join the American revolution (America, the convenient location of our second coming) during the First Virginia Convention at St. John’s Church.

I know of no way of judging of the future but by the past. And judging by the past, I wish to know what there has been in the conduct of the British ministry for the last ten years to justify those hopes with which gentlemen have been pleased to comfort themselves and the House. Is it that insidious smile with which our petition has been lately received? Trust it not, sir. Suffer not yourselves to be betrayed with a kiss. Ask yourselves, are fleets and armies necessary to a work of love and reconciliation? Let us not deceive ourselves, sir. These are the implements of war and subjugation; the last arguments to which kings resort. I ask gentlemen, sir, Has Great Britain any enemy, in this quarter of the world, to call for all this accumulation of navies and armies? No, sir, she has none. They are meant for us: they can be meant for no other. And what have we to oppose to them? Shall we try argument? Sir, we have been trying that for the last ten years. Sir, we have done everything that could be done to avert the storm which is now coming on. We have petitioned; we have remonstrated; we have supplicated; we have prostrated ourselves before the throne, and have implored its interposition to arrest the tyrannical hands of Parliament. Our petitions have been slighted; our remonstrance’s have produced additional violence and insult; our supplications have been disregarded; and we have been spurned, with contempt, from the foot of the throne! In vain, after these things, may we indulge the fond hope of peace and reconciliation? There is no longer any room for hope. If we wish to be free, we must fight! I repeat it, sir, we must fight! An appeal to arms and to the God of hosts is all that is left us! It is in vain, sir, to extenuate the matter. The war is actually begun! Our brethren are already in the field! Why stand we here idle? Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take; but as for me, give me liberty or give me death! -source

Another fun historical fact- this church also helped pave the way for religious freedom in America. (But also had a very messy history).

It is notable that the Second Virginia Convention authorized Baptist chaplains to minister to soldiers, an important early step toward freedom of religion in what became the Commonwealth of Virginia. Baptists and Methodists had been influential in Virginia during and following the Great Awakening, and many of the common people had already become affiliated with Baptist and Methodist congregations. -source

We also what seems to be a militia of sorts marching to heaven in the s2 opener with all sorts of walks of life. This isn’t going to be the heaven vs hell war- it’s going to be a revolution.

We see repeatedly when Az forgives Crow it’s almost reactionary. He wants Crow to know he doesn’t condemn his actions (and therefore also agrees with them to some extent).

Crow says “don’t bother” not because he’s dismissing Az, but because the very system that the forgiveness is based on he seeks to overturn.

This planned revolution is also why we get the “no nightingales” line.

Now the: No Nightingales Theory

Now, we are meant to think it’s just a heartbreaking reference to the song “a nightingale sang in Berkeley Square” but it’s so much more.

Nightingales are mentioned one time in the Bible- well the Old Testament has them at least, in the Song of Songs.

"Behold the autumn has passed, the rain has gone, blossoms are seen in the Land, the time of the nightingale has come, the voice of the turtledove is heard; the fig has formed its first fruit; the vines in blossom give forth fragrance", Song of Songs 2:11-13. These verses describe springtime in the Land of Israel. The rains have ended, the trees are in blossom and the nightingale has come. Israel is located on the migratory route between Europe and Africa, of so many birds, including the nightingale and the sweet sound of the birds can be heard from within the shrubbery. -source

The Song of Songs is described as, “a literary, poetic exploration of human love that strongly affirms loyalty, beauty, and sexuality. Yet in God's story, these things are not ends in themselves.”- Tom Gledhill.

Both this and the song “a nightingale sang in Berkeley Square” reference a nightingale symbolizing the coming of spring after winter.

Nightingales have a long history in British literature having a general theme of representing nature's purity, and, in Western spiritual tradition, virtue and goodness.

In Romeo and Juliet, they help represent the opposing sides of light and dark in love

In the same way that light and dark are mutually exclusive, Romeo and Juliet are like nightingales and larks, never able to be together. The lark, a bird of the morning (light), represents harsh reality, while the nightingale represents the safety of night (darkness). -source

In John Keats “Ode to a Nightingale” he references the battle between logic and passion- “The nightingale described experiences a type of death but does not actually die. Instead, the songbird is capable of living through its song, which is a fate that humans cannot expect. The poem ends with an acceptance that pleasure cannot last and that death is an inevitable part of life.” -source.

We also have this lovely tidbit from Izaak Walton’s (famous British author) essay.

But the nightingale, another of my airy creatures, breathes such sweet loud music out of her little instrumental throat, that it might make mankind to think miracles are not ceased. He that at midnight, when the very labourer sleeps securely, should hear, as I have very often, the clear airs, the sweet descants, the natural rising and falling, the doubling and redoubling of her voice, might well be lifted above earth, and say, “Lord, what music hast Thou provided for the saints in heaven, when Thou affordest bad men such music on earth?”-source

This references the shortcoming of heaven and the beauty of what sinners may find on earth again via the nightingale.

All this to say- Crowley’s “no nightingales” may be a way of saying “spring is not here, we are still in the trenches, I love you-but cannot protect you where you are going now.”

Still sad! But like- less break up sad, more the reality of the situation they’re entering sad.

Also- back to Walton’s piece- the questioning of god again—

Speaking of god… where is she

And finally: God is Dead- a not fully formed theory

Did anyone else notice god did not narrate this season? Not to go all “his dark materials” on y’all, but did someone kill god?

Odd artistic choice to just remove her so suddenly.

I just keep circling back to Metatron’s question in the coffee shop, “does anyone ask for death?”

At first I thought he was referring to Job- who’s story we got to tackle this season, as in the Bible he actually mentions asking for death several times.

But then it got me wondering- did god ask for death? If so was it because the ineffable plan failed?

Also the inclusion of Iain Banks, ‘The Crow Road’ that Metatron gives Muriel can’t be for nothing. (Spoiler of for book-but it’s loosely a murder mystery with a solid grappling with faith).

Part of me also wonders if Crow is suspicious of all this- just based off the faces he was making around Metatron. Also because of Gabriel just throwing everything away suddenly- and him referencing the second coming.

I don’t have a fully formed analysis of this theory- it’s just growing in my head.

ANYWAYS- in summary: Metatron tried to trick Az with the coffee, but crow protected him, and it wasn’t necessary anyways because Az has trauma, but still wants to protect Crow so he lied and riled him up to transfer knowledge, and Crow has decided to raid a revolution but is being a romantic drama queen about it, and god might be dead. :)

[fellthemarvelous]

Surrender the angle

Let's about a talk about "SURRENDER THE ANGLE", okay?!? Do I enjoy writing meta that comes across as bonkers? Yes. Yes, I do!

I can't help but wonder about this (and we all know Neil Gaiman is a fan of double meanings).

It doesn't say "Surrender Gabriel", and it makes me think of this scene from The Wizard of Oz in which the Wicked Witch of the West is making it perfectly clear what she wants from the merry old Land of Oz (which is strikingly similar in sound of the Land of Uz, which I don't think is an accident, but that's not for this post).

There are two angels in the bookshop, Jimbriel and Aziraphale, and a third angel standing outside just taking notes while the demons hassle Aziraphale, Crowley, Gabriel and all the humans.

Aziraphale actually helps Gabriel and Beelzebub escape, which goes against what Heaven and Hell both wanted to do to them.

And then Aziraphale goes back to Heaven after a chinwag with The Metatron.

And I'm sure many people would like to disagree with me because Aziraphale is easy to scapegoat as the bad guy by many people in this fandom, but we did not see the entire conversation between Aziraphale and the Metatron.

"Surrender the angle" assuming that angle is simply a misspelling of "angel".

Again, Aziraphale plainly stated that he did not want to go back to Heaven. I don't think he agreed to go back because he thought it was a good idea.

I think he fucking surrendered himself to Heaven. I've touched on this briefly in this post about Aziraphale's conversation with The Metatron and this semi-crack post about the portal to Heaven in the bookshop.

But there is also another angle (see what I did there?) to consider!!

Because looky-looky here!!

Not only is angle used in the Bible, but takes us back to A Companion to Owls!

Lo and behold, this verse from Job is about the Leviathan!!

The Second Coming has already been set in motion (remember the zombies Furfur unleashed on Earth and "the dead shall leave their graves and walk the Earth once more").

Remember Shax looking for demons who are doing good deeds?

Remember that Crowley was pulled into Hell in Edinburgh after doing a good deed in the presence of Gabriel's statue, which furthers the idea that Aziraphale and Crowley are never not being watched (see my post about Goldstone's)?

Remember when Michael found evidence of Aziraphale and Crowley working together in season one and presented it to Gabriel?

Am I making sense to y'all? Do you understand what I'm putting down here?

Which leads me to wonder...

Are Aziraphale and Crowley "not talking" because of the fact that they've been caught and have to play it safe? They have to communicate through other means? Which is what has lead me to my thoughts about Saraqael and why I can see Crowley becoming a Duke of Hell.

What's the angle of it all???

[postsforposting]

Colors in GO

Dec 23: updated purple

Dec 25: fixed blue, forgot to rewrite it before posting

I think the symbolism of blue and green are wrong? They don't mean heaven and hell. They can be associated with heaven and hell, but they don't solely mean that. Orange and white also seem to overlap, being associated with god, but so is blue which has been said to be divinity. I realized these were all entangled when writing various meta and trying to figure out what was going on in several scenes. Surely they do not all mean the same thing! Lo and behold, they do not.

Now that we all art here, let us recount the deeds of the dyes:

Brown: choice, free will/fate

White: playing by the rules

Black: Deceit

Blue: life/death

Gold: God's presence/watching

Green: god's game, the ineffable plan

Orange: agents of god's will

Red: passion

Yellow: defiance

Purple: power

Note: The shade of each color can mean something different. For example, say pink means love, then bright pink means love, and dark red would be absence of love or a negative/bad connotation. The way colors are combined also matters for context, what's on top or the placement on clothing vs how much of a color there is, what's the "core" color, etc. I am not sure, but I think in scenes where a tint is dominating the other colors, and makes a color look different, then the changed color is supposed to look different: so if in shadow gray looks black, then I think it's meant to be read as black.

There are other things that colors can stand for too, such as red being for blood or love. Those are the traditional symbolism, not the *main* usage in GO. I think some colors also aren't commenting on what is happening in a scene itself, but are foreshadowing future actions or telling us about hidden intent.

Also, I have been wrong about the colors before, this is merely the latest iteration on what I think they mean. I belabored it this time though, so I am pretty confident in these.

Opening montage=very beginning of s1e1 before Eden; intro=sequence we see with the theme music every episode.

Brown: choice, freewill vs fate

Basket the antichrist was delivered in, Hastur's and Aziraphale's clothes. Sandalphon's clothes. Obviously the ground and Adam's forest, seats in the bentley in s1 are dark brown. Lots of dark wood at the satanic hospital. Metatron's clothes. Jesus on the cross symbol, the cross itself. Furnishings and draperies at the Ritz are tan/cream. Desert of War's sword delivery, War's sword has dark brown on it, and half the clothing of the woman who demands to sign first. The summoner's clothes and every box he delivers. The witchfinders who burn Agnes wear dark brown, as does Agnes and the villagers. Floor of modern Anathema's house and the box holding the prophecy cards are dark brown, plus the cards themselves are tan/cream.

It can't be just earth alignment because Sandalphon isn't.

Brown is choice; light brown is free will and darker is more fate. It's associated with humanity but it's not solely humanity. Darker brown is less of a choice, pressured choice, and/or fate, like Anathema's family had with the prophecies: you don't have much of a choice when the world is on the line. They could have chosen not to follow the book though. Sandalphon has latitude in how he conducts himself and treats humans: he does not have to act as he does. Aziraphale's waistcoat gets lighter and worn as he develops his own beliefs rather than rigidly relying on heaven's demands, as he makes his own choices. He adds more lighter brown over time as he makes his own choices instead of being railroaded by fate.

Particularly, humanity was cut off from the light sandy desert while walled into Eden. When Crowley stops time, they all stand on light sand. The bentley having dark brown seats means it's got choice, but not much of one since it's tied to Crowley; also it was part of fate. Creating the antichrist was a choice, was also possibly a forced choice on Satan's part.

When Azi is discorporated to heaven and we meet the heavenly soldiers, he is dressed in a white shirt and tan coat and pants: he's got a choice to make, to go to war or not. The soldiers too all are making a choice to go to war, only pushed along a little bit by fate: the darker brown in their kilts. Except Azi has a white shirt, while the soldiers are button up fully in their choice, with white earpieces.

White: playing by the rules

White can't be specifically heaven or god, since we see it on Adam and we see bits of it on Crowley at some points. Aziraphale is not all white when he's discorporated in heaven as he defies heaven and talks to Crowley as a ghost: he's a white shirt and tan pants and coat. The outfit Adam has for s1, changing only the coat:

That is not heavenly, he's the antichrist. Can't be heaven's watching either.

Can't be strictly heavenly, because when Satan gives Crowley instructions it's white mist. It can't be autonomy, because that isn't the angels, isn't heaven, and Crowley would have some white as a demon. There has to be a reason why it's on Adam's core instead of on the surface like the coat. Playing by the rules? Yes--just like the "shades of gray", there's multiple ways to bend that just like god does, and you can play by the rules for your own ends, which fits why it's associated with heaven and god, and also why black is all over Crowley because he makes his own rules. Crowley also plays by the rules in the arrangement sometimes, respecting Aziraphale and the system, so that could be why it shows up on him sometimes. The new "ye saga continues" that Anathema burns at the end of s1 is cream, ie true but somewhat obscure as prophecies are wont to be.

The first time we see white is in the opening montage, where it's the color of the correct statements. That would appear to be truth, but it's god's truth, and Adam certainly isn't in line with that. And that truth here is malleable, because Adam's truth isn't the world's truth, he can remake it as he wants. So this isn't so much "truth" or reality as it is playing by the rules: what god says is true, but god can also lie, and those correct statements are backed with black. If white is playing by the rules, then black is lawlessness and deceit, so god's lying. This is why angels used to be white, and why Azi was white as an angel but in modern times is gaining light brown as his waistcoat wears out: he's gaining not "clarity" or truth but choice, freewill as he develops his own beliefs. This would explain why it's Adam's core, and why Azi gets a whole shirt of it which allows him to make a different choice than everyone else in heaven, who only get helmets and earpieces of white aka it's pounded into their heads: everything Azi does while in heaven is playing by the rules, the Metatron said he could finish what he was doing and that's what he's claiming to do.

Interestingly, the lightning used by both heaven and hell is white. White tends to be associated with heaven, but it's not exclusive. Pollution is smokey/champagne, so white can't be truth--but pollution is playing by the rules, as they themselves say. White can be truth, a filter, to remove deceit, but it's not strictly truth.

This is part of the parody: white is usually truth, but here it's a twisted version of "being in the light" that makes god look like a double dealing salesman.

Black: deceit, duplicity

Opposite to white, it's deceit, as when Aziraphale wears black to do his magic act: all the rules are out the window, nothing is as it seems. It's associated with hell, but not solely satanic, cf the angels' suits again. This also means that Satan and Beez were hiding things all the way back from s1.

Interestingly, the Ritz is white marble with tan/cream fabric. Sleeve on the dealer in the baby swap card game. The opening montage shades between navy and black for the color of "space": god's lying.

Silver is between black and white, and it depends on context: the angels lose their white robes over time, which matters because they are moving away from strict rule abiding to double talking for many of them to get away with things they shouldn't--or possibly so the system doesn't catch their disapproval of it. This is shades of gray used in a negative way as opposed to the way Crowley and Aziraphale use "shades of gray" to do things better. Same reason why Crowley's wings as an angel started darkening in before the beginning when he found out his stars were going to be destroyed, because he was going to do whatever it took to save them, rules and authority be damned. Here is where the parody of traditional apocalypse fiction comes in: black is traditionally bad, but here it's not necessarily because you can use deceit to do good when in a corrupt system, as Crowley and Aziraphale do, and using it to do bad is negative. Puts Satan's black in a whole new light, eh?

The difference between playing by the book and outright deceit is whether what you're doing is acceptable: Adam's "you are not my father" took the latitude he was given, while the archangels gleefully move line markers and lie about it.

The silver chain Crowley loses in s2 represents hell's authority over him: hell is lawless as the sham trial Crowley got shows, but its denizens are expected to follow the rules. Silver chain of hell, silver suits for heaven: not so different after all.

Blue: life/death

This doesn't mean heaven. I think people got this idea because of the light blue blanket in the baby swap alongside the white and red one that people took to mean hell, but that's not what that means: red doesn't mean hell; only one of the two babies is Jesus, and we don't know which one yet.

The first blue we see is the navy on the TV screen in the opening scene, I think space might be navy and obviously the earth's blue water that shows up thrice. A large neon blue and black eye as god tells us the fossilized dinosaurs are a joke the scientists haven't caught on to yet. Black means deceit, so god's lying about the dinosaurs. The libra symbol is white and light blue. Water in the middle of Eden is dark blue and possibly dark green, the sky is light blue. Jesus in s2 is shown with a neon blue sash.

Light blue is life, dark blue is death.

Leaving Eden was leaving death to seek life: leaving dark blue water to enter light blue sky and sand.

Warlock and Mr Dowling wear light blue shirts, Adam has a faded blue jean jacket. Light blue and white lights on the ambulance that brings the Dowlings to the hospital. Aziraphale wears a light bluegreen shirt, but often it does appear white or light blue. Water in the park, where the ineffables know they're being watched, is actually dark green, not blue. Some of the accessories of the people where War gets her sword delivery are navy, including light blue bulletproof vests, who all die. Outside of the coffee shop is dark blue with a light blue awning and patio fence in s1: life, death and liberty are intertwined, but we never go in to get any liberty ie coffee.

The first time we see the Ritz as they discuss the apocalypse in s1e1, there's a light blue set of windows and a white chandelier framed in the center between the ineffables: life is restricted by the rules, keeping them apart. Aziraphale's tie is light blue and white as the gardener. Light blue lights in Warlock's room, plus a light blue globe. Dark blue water on globe in heaven: heaven is death. The clothing shop next to the bookshop is dark blue. S1e2 starts in the light blue sky with white clouds and dark blue river: life by the rules inevitably leads to death. Light blue pool at Anathema's house and she's in a light blue dress. Newt's car is neon blue. Dark blue recycle bin at Newt's work, the witchfinder ad is circled in dark blue.

Tracey's bra is bright neon blue under a neon orange slip.

The other boys in Them have blue jeans, and Pepper has blue overalls. Adam has one outfit and two/three coats; one is blue, one is the green/blue shown above. Bright blue paint on Aziraphale at the paintball mansion, and light blue paint used by the yellow team, who are wearing white and one of whom has pearls on.

Light blue shirt on the staff at the cafe after the paintball fight. When Aziraphale makes Tracy's scooter fly, the miracle power is light blue: perhaps Aziraphale has the power of life.

Youngs have light blue, some dark blue stripes, when they're in bed. Adam has navy stripes with white on pjs. Light blue fractured lit windows around Azi's head when he finds Agnes's book in the car: the book has given him the ability to preserve life.

Blue in Azi's Shakespeare costume. Juliet, selling oranges, may have a blue costume? Single navy stripe in France's executioner's costume and the center of the flower decoration, which becomes Azi's costume. Beginning of 1941 memory tinted navy outside, so is inside the church, except the nazi space which is yellow. Crowley's dark blue 1941 shirt in both seasons. Adam's aura is yellow outside, then green/blue, red, white. The couple on the bench have a blue aura. Witchfinder manual is blue. Blue and white curtain behind Arthur Young as Adam reads witch magazine. Bandstand top is faded blue. Delivery man's bedsheets are faded blue. Witchfinder candle is light blue. The lights in the electrons Crowley runs through with Hastur are red, light blue, white, and gold. Blue ribbons on Beez s1, navy and light blue.

Neon blue is the last color in the memory tunnel Gabriel experiences getting his memories back, and blue is the tint of the graveyard scene in the last memory he meets Beez to look at his statue.

Gold: god's presence/watching

Gold is not yellow. I am not sure if brass is meant to be gold. I think the antenna on Beez's s1 hat may be copper/rose gold? Dark gold? Not sure. Could be glitter orange.

The first gold we see is a the 14 billion number as the age of the earth, gold shading to white. Then a gravity drawing around the planets to the sun, there are planets in gold, cards, and dealer's hands as god explains her game is like a dealer in a dark room. The libra earth horoscope is gold. Crowley's snake eye appears to be light gold--the show can do yellow, it would look yellow if that's what they meant. Dark gold/brown lion that tries to kill Adam and Eve.

This was extremely difficult to figure out, but I am pretty sure it's god's presence. I don't think there is a "dark" meaning for gold (though gold can be combined with other colors), because there is brass on the witchfinders that burn Agnes, and Agnes's daughter and husband are surrounded by what appears to be a lot of brass instruments. I don't think that scene would make sense if brass meant god's absence or disapproval. Brass could mean dark yellow though, or yellow and black, in which case that scene belongs to another color and not here. I also don't think gold denotes god's approval.

There are what seem to be gold chandeliers in the satanic hospital as they discuss the instructions for the baby swap.

The decoration on some of the angels' faces, and their rings. But when they're threatening Aziraphale in s1, they no longer have the face paint--does this mean the angels know what the paint does, or does the paint move on its own? This absence is why I think missing gold where it ought to be may mean "not ordained", because traditionally people would claim things like that in god's name. Sandalphon may still have the silver upper tooth decoration but he does not have the gold bottom ones in that scene. Michael has the gold when presenting the earth files on Crowley and when tattling to hell. The angels also cover their rings a lot--given they're in silver suits, this would fit a "hiding from god's sight" type of thing. The gold on their faces does not come back until they try to execute the ineffables, both Uriel and Micheal have it again.

I'm not sure if Michael has silver and orange or gold and orange paint the first time we see them in s1e1. I can't tell if there's gold or silver when they present the earth observation files. Given how obviously gold the gold on Uriel is, I think it's likely silver.

This would make sense why there is more gold in the s2 Job flashback: god is nosing in to see what happens with Job. Perhaps the robes change by will of god, they aren't something the angels choose to change, ditto the face paint.

Tracey's room is decorated in a lot of gold. Crowley's thrones and some other furniture. Edges of angel clothing before modern times. Aziraphale's desk chair. Number 4 delivery room, the Dowlings', in the satanic hospital was glowing gold or maybe yellow/orange, ditto #3 room. Cuff of the dealer in baby swap card game. Some decorative edging on the marble walls at the Ritz. Decoration on the sheathe of War's sword. Decoration on Agnes's book and gilt edging on pages. The color of the miracle dust when Crowley checks if it worked. Gold items on Aziraphale's desk and throughout the shop, the ring on Nanny's umbrella. Aziraphale's fob watch on his waistcoat, his waistcoat during his magic act in s1, and the merry go round at Warlock's bday in s1. Pepper's crown she's holding when the hellhound shows up. Aziraphale's mail slot on the shop. Brass buttons on Adultery Pulsifer and his "assistant"? Several medals on Shadwell's coat when we meet him preaching on the street. Gold on the edge of the red witchfinder patch.

All the prophecies in gold lettering on the screen as Azi reads them. Holy bible title in gold letter above the cocoa that doth grow cold. Buttons on the sleeve cuff of the sweater Azi wears to read Agnes's book.

Gold chain in the bartender's hair in Rome, her gold shoulder accessories, Azi's too. Gold on the columns at the Globe, in Shakespeare's costume, and on Hamlet's: god's watching Shakespeare. Gold on the top of Crowley's cane in 1862. Candle holders on left side in nazi church are gold. Gold closures on the bookbag Crowley saves. Gold rims on Crowley's 1967 glasses. Gold around the striptease sign. Gold ring visible as Azi calls Shadwell, and Shadwell's shoulder emblem is gold. Famine's companion is dressed in gold bolero, thick gold chain in diner scene and tons of gold accessories. Atlantean people have tons of gold. Gold street performer statue in the park. The lights in the electrons Crowley runs through with Hastur are red, blue, white, and gold. Newt's socks are red and gold during armageddon, gold shirt. Mostly gold/red credenza blocking off Azi's desk during Metatron summoning, gold candle holders. Gold all around Metatron head in s1, and Shadwell uses gold key to pick bookshop lock. Gold on the heavenly quartermaster and soldiers.

God's been around a lot of Crowley and Azi's dates. Really fascinated with the strippers too, though that's biblical.

Green: god's game/ineffable plan

NOT HELL, not evil. In s2 green is all over hell like a toxic gas. But in s1, green is not in hell except to tint hell's escalator. I don't think it's supposed to mean "just hell" in s2 either.

The first large "green" thing in s1 is the dark green chalkboards with the dates on them, and then a huge black and neon green CORRECT stamp in the montage talking about James Ussher's theories on the creation of the universe. This green is a neon version of the green we see in s2 hell and on s1 hell's escalator. Then we have a large dinosaur arm in the same "hell" neon shot with black, just as god is telling us about the dinosaurs being a joke people haven't understood yet. Black is deceit, so god is lying about the dinosaurs. We are already playing her game.

This is followed by a bunch of decorative looking things, astrology and writing of various greens, the giant eye starts out that neon green before going navy, along with dark green poker chips and neon green math. As in, a game. The s1 intro is almost completely hell green, and specifically there's a dark green street sign. One person in the Jesus scene has some dark green on. In the dealer's baby swap game, the third child isn't blue, he's dark green: this is the baby with the light blue blanket, Warlock. Satan's game is the baby swap, that's what he planned; God's game is the dealer's card game, we know because there's gold on the dealer's cuff. The backdrop to Satan's card game in the baby swap is dark green, and both hospital beds have bright green blankets over white.

Eden is tons of greens that look dark from far away, and dark blue water. Adam and Eve's clothes are dark green. The Youngs' clothes are heavily if not always greens, as are their bedding--again, they aren't agents of chaos themselves. The hospital itself has dark green and white alternating walls. Water in the spy park is actually not blue but dark green.

The forest Adam plays in is green and brown, and there's lots of the parks shown in the show. Anathema's coats are dark green and black or green and purple, and her house is surrounded by bushes and trees, a lot of her clothes are dark green. Tracey's clothing is various greens. The head of the cane/umbrella Crowley uses as Nanny is bright green. Agnes's book is dark green and gold. Crowley's plants are dark green. Ennon's clothes are darker green, he turns into an orange gecko.

The green gas choking Soho during the demon attack in s2, and the lights turning the same green in the bookshop during the demon attack. When Beez disappears to tattle to Satan at the end of s1, the color of the pop smoke is bright green, the same color as hell green, and I would assume all demons have the same color. The angel phones glow the same green of s2 hell. The statue of liberty figure in the coffee shop in s2 is the same green--but Eden was green too so it can't be liberty or freedom, or chaos.

I think the Great Plan is something all the angels were told and was recorded/was written, but the ineffable plan is god's game, and that is what green represents. Change IS the game, so darker green is more change, like Agnes's book, like Adam and Eve's clothes.

These are not agents of god's will as they act independently. This means Agnes and her book was part of god's game; the baby swap was part of the plan and the game. Eden was both plan and game: will they take the apple; Adam and Eve became part of the game once they did.

In s2, the blue and dark green coffee shop whose coffee represents liberty has dark brown chairs outside, and blue and the green of hell inside. I think this can be interpreted as this is a piece of god's game, life and death are a choice within which is god's game, and discovering that leads to freedom.

If there is a plan and a game, then bright green is more "plan" than game. Darker is less part of the plan. That's why the the CORRECT stamp in the montage is neon, because you are supposed to know that's wrong, and why Nanny's cane is bright green and s1 demon pops are bright green, but Agnes's book is dark green. Demon pops in s1 are bright green, I think because the fall was planned, just as the baby swaps and births were planned. The pops change in s2 to purple, perhaps because everything we see is interfering with their own kind rather than humans.

Are the angel phones green because they connect to hell? I don't think so, because the phones must do things besides that. Every time the phones were used they were green, so at the least talking to hell generates change in heaven. I think they have the phones turn off by blowing on them so that they don't have to touch them, because touching would be "dirty" and contaminating--can't be having angels get infected with hell, can't have the angels directly touching "change".

Anathema's shirt is light blue checking in to the UK, her bike is aqua--the bike appears to match Azi's shirt. Aqua, I think, is blue plus green: life plus game aka gambling with life. Anathema and Azi are pieces in the game of life. In s2e1, Aziraphale is a shooting star that's blue, and they're on a background of black and dark green. God's been gaming since, well, always. I think Azi's blue shooting star also means he was the one who made people, and perhaps the earth.

Orange: agent of god/god's will

The first orange we see is, I think, in the opening montage on some of the monks who got the dates of the creation of the earth wrong--they're in a ROYG rainbow. Then on James Ussher's clothing, the guy who got the creation of the earth slightly wrong, who is red, black and light orange (shades from gold to orange, I think) with a roman numeral clock behind him, various oranges. Dealer hands go from gold to orange as god explains her game.

Sash on Beelzebub in s1. Shakespeare's columns are red/orange. Tracey's hair/clothing is bright orange and Crowley's snake belly is dark, his hair looks dark orange too in s1. The fire Agnes Nutter burned in, and the candle flame in her house. Maude's shirt, the wife of the delivery man of the four horsemen. Holy fire on Aziraphale's sword, hellfire, fire that announces demonic arrival. Number 3 delivery room, the Youngs', glowed orange on fire, but it may have yellow/gold in it too. Job's and Jemimah's clothes, columns in his house, most of the color of the TV show that Hastur and Ligur take over to talk to Crowley. The record shop and accessories Maggie wears. The Jesus picture in Crowley's flat is entirely light orange and white. Juliet in the Shakespeare flashback is selling oranges. Orange and white cone in the paintball manor. Dark orange seat belts in the summoner's delivery truck.

Not all fire is orange. Some is yellow or white.

Originally I had this as god's presence, but I think gold fits more with that. This one thus is agents of god--god isn't there, but these are acting out god's will.

Crowley's hair throughout time:

Bright orange: BTB, Job, Tracey, Edinburgh, 1967

Dark orange: s1 present, 2008, nanny, noah?, jesus, rome, shakespeare, paris is brown?, 1862,

dark red: 1941, s2,

I think bright orange is agents for positive change, and dark orange are agents of "negatives". Crowley may not do much negatives himself, but Beez has that dark orange sash. Negative can also mean "throw a wrench in the works" like stopping the apocalypse.

Jemimah has orange clothes and becomes a neon blue gecko.

Red: passion

I think brighter reds are negative, and darker is positive/love. I think pink is fake negative, fake threat: we see it on Mrs Sandwich and in Tracey's bedroom.

Dark red bookshop, dark red backing on the thundergun: Azi loves his shop and Shadwell loves hunting witches. Tracey's apartment is dark red with aqua in the outer room: she helps people, and helps Shadwell a lot, and has knowledge of god's plan.

The big black and neon red "incorrect" stamp in the montage as god says some creationists are wrong, and the black and red "WARning": fake warning, god's lying about the dates, and god feels angry about it. Telephone Crowley calls from to tell Az about apocalypse: fear and anger. Shakespeare in dark red and gold outfit: god's in the audience, he loves his work and so does god. I'm not actually sure if Satan himself is dark red or bright red, he appears to be both, which is fascinating. Several buses shown are bright red while the ineffables are working out how to find the lost antichrist. There are several more buses when Crowley's racing to the bookshop after Aziraphale drops the phone when Shadwell breaks in, and more bright red firetrucks at the shop while it's on fire. Crowley's table he uses to plan running away is dark red; he loves his stars. Pepper's shoes are bright red and her raincoat is dark red: she's got anger but mostly motivated by love. Anathema's pencil when she's hunting for Adam is bright red, she's frustrated. The voicemail counter on Crowley's player that traps Hastur is red, as is the holy water bucket.

The apple in Eden is both bright and dark red, topped with yellow: love isn't possible without anger and fear, and in fact the point of the tree wasn't damnation but a test since it's covered in dark green and dark brown too? Shax's dress is dark red, as is her battle corset: she loves her job, and possibly Crowley too. It's the color of the bottom of the antichrist's baby basket and blanket; the baby itself can't really be passion or devotion, but it does inspire fear and it's a threat. Adam wears a red/brown/white checked coat during the witch hunting game, and has a dark red popsicle later. his eyes turn a core of bright red, ringed in dark red, edged in black: his intentions are to fix the world, but he's doing it through destruction and anger.

Crowley also gets contacts through his car radio, which is bright red.

Crowley's hair in s2 is also dark red. In 1941, his hair is also dark red.

Tracey's bedroom is pink, gold, and red; the flogger is pink and silver. I think this lines up with her "intimate relaxation for the discerning gentleman": she's a fake threat in the bedroom. And god's watching. Her slip as she thinks Newt wants an appointment is orange.

Red has some clear examples of other meanings than "passion": in s1 there's a large red drape of fabric in the Jesus scene, it also stands for blood, though technically war and negative emotion would tend to drag blood in with it; in s2 the tomatoes as Gabriel walks to the bookshop are both invoking the apocalypse (spilled blood) that Gabriel nixed and perhaps also the passion of Christ, as Jim is also a Christ figure.

Yellow: defiance

Not the same as gold. This has been proposed to be fear, which does fit a lot of the appearances of yellow, but then Gabriel lights his own statue with yellow light in s2e6 and the bar he meets Beez in right after is bright yellow. I don't think they're fearful there.

The first time we see yellow is the opening montage, in the text shot with black addressed to kids to not attempt armageddon at home. Which we see the Adam doing. As god says if the universe "didn't just start, unofficially", and we see a red explosion with yellow in the middle. The people claiming it's 14B are shaded in bright yellow, as is the incorrect age of the earth. One of the parade of rainbow wrong monks is yellow. Lots of the latter montage comes out of the yellow sun. Adam and Eve leave Eden into the light yellow sun: more evidence that the apple business wasn't exactly a sin, so where did the angels and heaven get that idea? Did god tell them a lie as she lied to us all through the opening montage? Light yellow lights in sushi place: eating as an angel is frowned upon but not massively disapproved of.

Aziraphale's hair is sometimes blonde, and it seems to do that when he's under stress--both the good and bad kinds, which fits with defiance as that would cause him stress. Job's basement is dirty yellow walls: deceit plus defiance at their orders. Crowley's eyes are yellow, except his snake eyes which seem more gold. The back room of the bookshop is a bright yellow, but most of the front shop is a dark yellow or brown, I think? A lot of the sores on hell's denizens are light yellow. I think brass counts for yellow, it's dark yellow, or maybe it belongs with gold. Perhaps the confusion is deliberate. One of the paintball teams is denoted by yellow flags, and we know that scene is meant to be an echo of the war in heaven (obviously I don't agree with the color analysis in there). The yellow team uses blue paint, the red team uses red paint.

The bentley's headlights when they hit Anathema are yellow: neither of them are supposed to help her because she's working against armageddon. Az's halo is yellow and white when he throws it.

Saturated yellow is defiance, and faded/lighter shades are less so. That lighter shades are more white is deliberate: white is playing by the rules, conformity.

Thaddeus Dowling isn't with his wife while she's giving birth, and his video screen is framed with the yellow and red of the ambulance: he's defying her demands to be there, and it's painted as being out of fear or anger. She is in super dark red jacket over a peach dress, with a bright orange object above her head and pearls on her neck: she's in love and the ambulance is god's rep on earth, but all colors paint her baby as Jesus, wrapped in the white blanket of playing by the rules.

Purple: power

Gabriel's tie, which he does not have during s1e6 armageddon, and the purple color of his eyes which he loses for most of s2. Interestingly, his tie gets super purple in heaven and more dull on earth; I think his eyes do too but that's harder to see. See this post for analysis of Gabriel's eyes, which mean omnipresence, the "power of sight".

Very purple tie when we see him on earth in s1e2, as he flexes his position over Aziraphale. The color of the miracle plume in s2, the color of angelic dust left behind when they pop away as when Gabriel leaves to tattle to Satan after the notapocalypse, and in s2 the color of everyone's arrival and departure pop dust. RP Tyler's weenie has a dark purple aura. Famine's companion has a lavender air bubble appetizer in the fancy restaurant that is framed as snobbery. One of Anathema's coats is purple and green. There are purple math equations in the opening narration: science is explicitly framed by god as humans thinking they know better, when really god is lying and science is the path to learning and mastering god's game.

It's the color of the words "miracle blocker" and a splash of color from it when Furfur engages the card. Keziah's clothes are purple, maroon, and gold, and she becomes a dark brown or yellow gecko with black spots.

This is power. More saturated/neon shades are more power; duller or lighter shades are less power. Where the purple is can denote what kind of power, as with Gabriel's eyes.

The reason only an archangel could have made that plume in s2 is because they're the ones with that level of power. What color were miracles for everyone else? In s1, Azirahpale's were blue. Though if everyone now has purple pop dust, and that's retroactive through history, could anyone do it? Does everyone have archangel power now after Adam's reboot? If so, why was the dust Crowley poked gold?

[amagnificentobsession]

Such is the way of the world

You can never know

Just where to put all your faith

And how will it grow

Gonna rise up

Burning black holes in dark memories

Gonna rise up

Turning mistakes into gold

Such is the passage of time

Too fast to fold

Suddenly swallowed by signs

Low and behold

Gonna rise up

Find my direction magnetically

Gonna rise up

Throw down my ace in the hole

@angelo-rib-shack make it right son ✨

@the-metatron C'est la vie

[spinallyspiraling]

The Sacred Bull

When arriving at the throat, astrologically we find the sign of Taurus. Taurus rules the throat. The sign of Taurus is the astrological sign of the bull. Aleph, Alif, means “bull, ox, cattle, cow.” Can you see the relation here? The cow, bull, ox is associated with the throat. Taurus the zodiacal sign rules Daath, knowledge. Into my mind comes the sacred bull Apis of ancient Egypt, the spouse of the divine cow, and their child or Kabir, the calf. In them you find the three forces.

Apis, the great bull, is a symbol of the word. If you go to the southern U.S., to Texas or Colorado where we find a lot of cattle, the cowboys know how to use their throats in order to control all those cows. In Mongolia, you find those throat singers who control the cattle with their songs.We have to understand that the bull Apis and the sacred cow that is worshipped in India is a symbol of the power of the throat, the power of the word, which we are talking about here. This is the deep symbolism of the bull. In Taurus is found the constellation of the Pleiades. The Pleiades belong to thesign of Taurus. The Pleiades are the stars that form our own particular constellation. The Sun Ors shining above us (the center of our solar system)belongs to the stars of the constellation of the Pleiades, which are in the constellation of Taurus. Behold here our astrological association: the cow is the symbol of the forces of the Earth that we have to manage. The bull is the power of the throat; the sound of Alif. But, the bull has to be sacrificed; the cow has tobe sacrificed, in order for us to develop our own particular spirituality.

Not withstanding, the word sacrifice derives from “sacred” and “office.” You see,when you are in an office, you officiate. When a priest is officiating he is doing a sacred officiation. Thus the word sacrifice means sacred officiation, a sacredwork, prayer that we have to perform in Daath with the power of the bull, the throat.The bull Apis has Behemoth as its opposite. Remember the golden calf that the Israelites were worshipping instead of Kabir, the calf of Apis, which is the glory ofthe earth; the Israelites were worshipping the golden calf who symbolizes the power of Behemoth of the earth, related to gold and intellectualism, related to the riches of the earth instead of developing riches (glory) in heaven. Now, as inthe past, we - like the Israelites - are developing riches on the earth, in Malkuth.This pair of opposites is precisely what we have to understand when we enter these studies. We do not have to develop wealth in the earth, or better said, our goal should not be to develop wealth in the earth, but in heaven, as master Jesus says:

Lay not up for yourselves treasures upon earth, where moth and rust doth corrupt, and where thieves break through and steal: But lay up for yourselves treasures in heaven, where neither moth nor rust doth corrupt, and where thieves do not break through nor steal: For where your treasure is, there will your heart be also.

~ Matthew 6: 19-21

When entering into this knowledge, Behemoth (our ego) wants to make all his earthly treasures here. Our ego wants to be famous here. Our ego want our name to be uttered by many, to the four winds. People think that because our name is uttered by many, we are good. There are many who think that in order for someone to be a master, a lot of people have to utter that, to confirm that, as if mastery is a matter of conversation. Listen, the one who is a master does not care if he is recognized, named, or not. There are many masters who are not recognized and whose names are unknown by the public.

There is an Angel that controls the letter א Aleph, the breath of God, the wind, and who is associated with Kether. His name is Metatron. The angel Metatron is before the altar of God in the world of Atziluth, the world of the Archetypes. The whole alphabet that we are studying here was brought by Metatron. When Metatron had a physical body in the earth, he was the prophet Enoch. Metatron delivered the 22 letters and the meaning of them, which we are explaining here. Metatron is also associated with a Master from Persia: Mithras. Mithras is that great master who developed Mithraism in Persia, which is now Iran. Mithras is symbolized with a sword and slaughtering a bull. So behold the association:the bull is associated with the throat, and the symbol of Mithras is the cutting of the throat of a bull. He is not killing the bull miserably like the Toreros when killing the bull in its back, stabbing the bull’s back with the sword in order to kill the poor animal. Mithras cutting the throat of the bull is a symbol related with the throat, as we are explaining here. The power of God is in דעת Daath. The sword is a symbol ofthe rays of the sun. Mithras symbolizes the rays of the sun that rise in the spinal column through sexual transmutation; that energy that rises in the spinal column develops the sword of the angels. That is why we call it the flaming sword of the angels. When that fire, that sword, rises from the coccyx and reaches the throat,then occurs “the slaughtering of the bull.” The blood that emerges from the throat of the bull fertilizes all the archetypes that we have within, and develops spirituality. This is why in the symbol of Mithras slaughtering the bull, the blood that is gushing out of his throat is being licked by a dog. The dog is a symbol ofthe sexual power. There is also a snake, a serpent, licking the blood. The serpent is also associated with the sexual power, which we can take advantage of in a positive or a negative manner, because the serpent is also associated with Ahriman of the Persians. Ahriman is the Shatan or Satan of the bible, which is none other than the sexual force.

So, the mysteries of Mithras or Mithraic mysteries are something within which we have to delve very deeply and to study in order to comprehend all religions. Many religions emerged from this Mithraic mystery. Mithras slaughtering the bull symbolizes the forces of the Earth, because the ox, the bull, symbolizes our physical body. Mithras is the force of the father, Metatron, that had to descend and give us the power of the word.Yes, we have to develop the power of the word of God within us. But for that we have to sacrifice, to perform the sacred office of slaughtering the animal elements, the bullock, the behemoth, the ego, that we carry within, which is precisely the main point here. Indeed, this beautiful myth of Mithras encloses alot of wisdom.

Lo and behold, that even the Koran starts with that second Sura which is called The Cow. AL-BAQARA is how you write “the cow” in Arabic, AL-BAQARA. ALBAQARA is the longest sura of the Koran. Devout Muslims sing of the cow, the bull, the power of the throat, which is the power of God. If you read AL-BAQARA, you find that the letter A and the letter L of ‘Al’ is Alif, ox. Now, if you take the syllable RA out of BAQARA - which means cow – you see theword BAQA. So by taking the letter R and A out of Al BAQARA you end with AlBAQA (Al Qaba), which is Qabala backwards. This is why they say that Kabbalah is Al BAQARA, the science of the cow.

The cow represents our physical body. We must sacrifice this cow (physical body). The sephirah Malkuth (the physical body) is always feminine (as a sephirah). Malkuth is the body of the Divine Mother. The bull Apis is in the throat.To sacrifice the cow means to enter into the mysteries of Daath and to sacrifice all the animals, the bullock, we have within, the behemoth that we have within, and to develop with the blood of the cow the sacred forces of God. That blood is the symbol of sexual transmutation, the fire that rises in the spinal medulla. This is why it is written ‘Cow,’ because the power of sex is always feminine (She)..

69. And they said: "Beseech on our behalf Thy Lord to make plain to us Her colour." He said: "He says: A fawn coloured Cow, pure and rich in tone, the admiration of beholders!"

That color is the color of the Divine Mother Kundalini, the golden force that rises in the spinal column. That is the Golden Cow, which should not be confused with the golden calf, because the gold of the golden calf relates with the riches ofthe earth. In this day and age, people are worshipping the golden calf: money, wealth, gold, intellectualism, fornication, adultery. All of that is the golden calf. Yet, the cow that Moses is indicating in the Koran is yellow. That cow is the Divine Mother, who is the Shechinah, when you work with the forces of sexuality, with chastity.Then you see that the Divine Mother is energy, light, that rises in your spinal column with a yellow color. When she reaches the throat, then a violet purplecolor shines in your throat when she is united with the bull Apis.

That cow, that power of creation, is in our sexuality. But when you do not know about the mystery of Daath, you do not know how to till the soil or how to water your fields of Yesod with the powers of the cow, the powers of Malkuth, or the powers of Io, as Greek mythology states. The Goddess Io was transformed into a cow in order to escape from the persecutions of Jupiter’s wife Hera, because Jupiter was in love with Io. Jupiter transformed Io into a cow, hoping to conceal his romance with her from his jealous wife. Jupiter took the shape of a cloud, and as a bull embraced her in order to have her. As you see, every mythology has the same symbol. This Greek Cloud-Bull-Cow embrace is the sacred sacrifice, the sacred office that we have to perform with Alif, Aleph, the bull.

All of us intellectual animals, intellectual bulls, bullock, because of fornication, are dead to the Spirit. But if we sacrifice the cow, if we work with these mysteries of Mithras, then Allah, God, El, Elohim, Elah, will resurrect us. He has the power to resuscitate the dead. We are the dead. Do not think superficially that the dead are physical corpses, and that Allah will resuscitate a dead corpse. No. This is asymbol of us who are spiritually dead. Thus Allah gives life to the dead and shows you his signs so that you might understand.

Al Baqara, the Cow, the power of the throat, the power of God, Allah through Aleph, Alif, the bull, ox, and the manner how the holy trinity expresses itself through Alif; even the three letters of אלף Aleph are a trinity

The sacred cow is a symbol of the divine forces of nature which express themselves in the physical body. When Moses said to sacrifice a cow, he did not say to kill an animal physically. No. He meant to perform the work with the cow, the Divine Mother, who is within your physical body, which is a bullock. Renounce the animal elements and develop that fire of the cow, which is the sacred cow. This is why the bull, a white bull, is also a symbol of the Holy Spirit, Shiva. Shiva is above as a bull and the Divine Mother, the sacred cow, is below, also white. Both male and female have the symbol of the Holy Spirit.

[nellie-elizabeth]

His Dark Materials: The Botanic Garden (3x08)

Woof! Okay. Let's talk about it.

Cons:

The thing is, yeah, this episode has the problem it was always going to have, in that it feels disconnected from the rest of the story in a lot of big, obvious ways. We went through so much with Asriel and Coulter, and they barely get mentioned here. Characters like Iorek get barely a sendoff. The aftermath of Asriel's war isn't fully addressed; obviously it's implied that the Magisterium is going to go home with its tale between its legs and none of the angels on Metatron's side are going to bother anyone anymore, but we don't really see much of any of it. The Gallivespians, the other witches besides Serafina, they don't get their due here. This is how the book ends, too, I'm not saying they had a lot of choice in it, but I think the structural problems that have plagued this season are apparent when you have a finale that is kind of doing its own thing, almost entirely cut off from the plotty buildup leading to it.

Father Gomez coming to do his murdering, and Balthamos showing up to thwart him is also something from the books, but again it felt shoe-horned in. I get that I'm kind of contradicting myself, as this is an element that does tie back to earlier in the season, but it feels so disjointed, like, God is literally actually Dead, dude. Move the hell on.

Pros:

The thing is, though, this episode just had to get one thing right and I would forgive it all its other weaknesses. And... it got that thing right.

I want to start with Mary, who acts as the "serpent" in this little tale of temptation. She talks to Lyra and Will about what it is to feel in love, to give in to the fullness of what she can feel as a person, and that's what inspires them to realize the true depth of their feelings for one another. It's such a simple thing, and that's what makes it powerful. I appreciate the little change here that Mary was feeling attraction and love towards a woman, as I don't think it's that way in the books. Not a huge deal, just a nice little detail. And I also like that the story isn't about how Mary then fell madly in love and got married and had babies or whatever, it's just a quiet thing, a moment where she eats marzipan and remembers what it is to have butterflies in her stomach. The outcome of her romance isn't the point, here. That's lovely.

Lyra and Will... man. Okay.

I really need to give a lot of praise to these performers. Dafne Keen and Will Parry have a sometimes thankless job in portraying these characters who have to be young and innocent but also old enough to fall deeply, passionately in love. They have to play trauma and heartache and affection and childlike wonder, and the script, while decent, is also cheesy and overwrought, meaning that if these two didn't pull off the performance convincingly, it might have been truly insufferable to behold.

But it's not, because it's lovely, it's sweet, it's tender, shivery kisses and tight, desperate hugs as they sob into each other's shoulders, it's the joy of reuniting with their daemons, and the tender way they touch each other's daemons along with their own. The way they say each other's names, the way they kiss one last time through the final portal. The way Lyra talks about how one day when they die, they'll find each other again, and be so thoroughly joined that they will be together even as their atoms are used as building blocks for future life. It's High Romance, y'all, and these two actors pulled off an amazing feat, making it feel like young, inexperienced love and also like the deepest, most sacred thing in all the universe.

I don't really have a lot to say on the specifics here. I actually held back my tears during the whole bench montage at the end, but the minute the screen went black and the text appeared saying that they kept going for the rest of their lives but each lived full lives in their own worlds, I started crying. At its core, this is just a beautiful story. And sure, this television show was an imperfect telling of it, but I still deeply loved getting to see it play out in front of me.

And yeah, I guess... that's it! I feel kind of numb, that it's over. I'm grateful we got these actors to take on these precious characters, I'm excited to see what they end up doing next in their careers. This finale gets...

9/10

And now to grade the show as a whole. I think the overall thing I want to say about this television adaptation of one of my favorite book series is that it got a lot of moments really right. It had a lot of brilliant aspects. It had the most incredible Marisa Coulter I could ever have imagined getting. It had a Will Parry I fell in love with even more than the one from the books. And it had a lot of weaknesses. There were thematic elements about the church and faith and sin and love that didn't quite land. The way the daemons were integrated in particular left something to be desired. Sometimes the pacing was wonky. But usually, the things that didn't land about the show were a matter of... "I wish they'd done more or less of that" rather than "what just happened was stupid", you know? And that's better. I'm so glad I have this show to come back to and watch again someday. It's a different, and imperfect, way to revisit one of my favorite stories. As a whole, I think the show deserves pretty high marks.

7.5/10

[destinyandcoins]

oh hey, look what I found in my drafts in pursuit of some other idea of mine, I'd forgotten about this in the frenzy of experiencing every emotion known to mankind these last couple weeks courtesy of the most ruthless of emotional rollercoasters that was the good omens s2 finale and its fallout on tumblr.

Behold, an unedited compilation of my initial reactions to the entirety of good omens s2, ft a slowly less careful tracking of which episode any of these reactions originated from:

oh...my god....crowley and aziraphale before the beginning. they're so fucking adorable. AND CROWLEY'S HAIR.

making it look like azi was going to flip the sign to "open" LMAO BITCH U THOUGHT. and "i'm very good at forgiveness" p l s

aziraphale: ((b99 scene of that one lady jamming whilst Shit Goes Down)

jon hamm LMAO. "who told you I was naked?" and the arrows on the box pointing up

the expression on azi's face when someone mentions the naked man in front of crowley LMAO

"Does it calm you down" "not.really."

"Do we know a jim??"

FUCKING DRAMA QUEEN CROWLEY throwing a tantrum in the street lmaooooooo

they're so fucking married they're so fuckING MARRIED THEY'RE SO FUCKING MARRIED. the little "i didn't see you come in" "let me ring the bell to get your attention so you can't ignore me" THE APOLOGY DANCE

episode 2:

RAIN UNDER A CANOPY AND THEY'LL FALLIN LOVE. LIKE--THE FIRST RAINSTORM AND SHELTERING SOMEONE UNDER YOUR WING?? PERHAPS?

lmaooo like a game show announcer showing off the prizes

"i thought i would take the car. our car" RECORD SCRATCH. so....fucking married. like how much more obvious can you be....

THE GOOD OMENS BOOK.

muriel is precious, and crowley and aziraphale are so patient and gentle with them, they think so too.....adorable

episode 3:

THEY WORKED IN THE "YOU HAVE TO START THEM ALL OFF ON THE SAME LEVEL" and "that's lunacy" "that's ineffable" LINES!!!!

THE DANCE. AZIRAPHALE WAS SO EXCITED TO DANCE WITH CROWLEY. OH MY GODDDDDL HE'S WRITING HIS OWN A/C FANFIC

gabrie's FUCKING COAT. OH MY GODDDD

"I am, but rescuing me makes him so happy" FUCK. KO. THAT'S ALL SHE WROTE FOR ME, FOLKS. HELLO??? the self awareness but perfectly encapsulates their relationship....hold on a sec. man just hold on

....crowley is such a fucking bleeding heart omg. his little smirk through the window at azi taking charge

aziraphale's unending heart eyes as crowley just, like...exists.

crowley not knowing/"remembering" a single other angel or demon he's previously met but being the only one who recognizes the metatron....brilliant.

of course crowley is cleaning up the shop for aziraphale while he's gone.....of course he is.

WHAT IS THAT.

WAIT. WHAT THE FUCK IS THAT. WHAT THE FUCK??? IT ENDS THERE?? NO???

[saritagiovanna]

My perspective on the final scenes of Good Omens Season 2

MAJOR SPOILERS for Good Omens Season 2. Turn away now if you don’t want it spoiled. For anyone who wants to keep reading, apologies for a lengthy post. I'm on my third re-watch and have THOUGHTS. (PS- I ADORE THIS SEASON!!)

I’m on my third re-watch of Good Omens Season 2, I’ve seen a ton of reactions and thoughts on Aziraphale's reaction to Crowley's kiss in the bookshop (more on this a bit further down). My heart aches for these two who clearly love each other but have never been able to truly discuss their viewpoints to fully know and understand what each of them ultimately wants. Before the Master Metatron interrupted everything and lured Aziraphale out of the protection of his bookshop, out of Crowley's protection, and possibly "spiked" his drink with something (or performed a small miracle on Aziraphale, and manipulated him so MASTERFULLY), I believe that Crowley and Aziraphale were going to have THE TALK. The talk I believe was going to be about what they want, what it all means (what Gabriel and Beelzebub "going off together" means for them), and how this relationship can finally flourish without concern about Heaven or Hell. Through the season, Aziraphale has become bolder and more aware regarding his feelings towards Crowley. He called the Bentley "our car," he threw a ball and got the guts to drag Crowley onto the dancefloor! Crowley mentioned Alpha Centauri again with angels and demons present so Aziraphale could get a hint of what Crowley wanted. Aziraphale held onto Crowley's arm when he seemed to sense the love between Gabriel and Beelzebub...not hiding that from the angels and demons present. This was THEIR CHANCE to finally lay it out on the table.

But...METATRON KNEW. He KNEW because he knew pre-fall Crowley. It's clear because of Crowley's knowledge of the Metatron, seeing him as a floating head in the past. He has known about all of Crowley and Aziraphale's interactions across all of time. He already had this planned out- remember, he wasn't in the bookshop during the reveal of Gabriel and Beelzebub's feelings...he JUST KNEW. He also knew about just HOW POWERFUL Crowley and Aziraphale are together (their co-miracle setting off alarms in Heaven), as well as just how powerful Crowley is on his own (since he appears to have been quite powerful even before his Fall). So, the Metatron had to make a move, and make it BEFORE Crowley had any opportunity to put his heart out on his sleeve and confess his feelings to Aziraphale. The Metatron, clearly upset that the first Armageddon didn't work, had to prevent these two from thwarting a second attempt.

Enter The Drink the Metatron gives to Aziraphale. Yes, lots of speculation out there about whether it was spiked or not, and whether there was a miracle performed. Let's first look at what he asked for in the drink...a dash of almond syrup (which he tells Aziraphale has a "hefty jiggle of almond syrup"). Now, I'm not a religious person, but I thought it odd that it this was a very specific thing to ask for, and then to ultimately offer up to Aziraphale. Further (and I've listened to this a few times with headphones on), there is the FAINTEST sound of a jingle when the cup is given to Aziraphale...could be something, could be nothing, but this plays into the theory that it's part of the MASTER MANIPULATION of Aziraphale (who really doesn't drink coffee, he prefers tea). So, I decided to head to Google to see if there is any kind of spiritual connection between almonds, angels, and Heaven, and LO AND BEHOLD...I found this article about the spiritual meaning of almonds. Apparently, they are associated with purity, divine wisdom and resurrection. I believe that this ties directly with how the Metatron manipulated Aziraphale to want to go to Heaven, and have Crowley by his side. The Metatron was able to convince Aziraphale that he would take Gabriel's place, and could finally make Crowley an angel again. This plays directly into Azriaphale's constant sense that Crowley is good, and might want to bring him back to a "purified" state. I don't think Aziraphale would fully want that for Crowley as I believe that he had more acceptance of Crowley over the years (now, I could be MAJORLY WRONG about this, it's just a speculation). With all of the Metatron's manipulations and influence of almond syrup and a possible miracle, I believe that the Metatron knew he had him.

Metatron Death Stare at Crowley: Don't forget about this death stare, and the important "danger" musical cue associated with the stare. We as the audience (thanks Shakespeare!) can sense danger and a trap from this cue...we know shit is about to go down, and nothing good can come of it! Also, that stare is coming from someone who is looking at a true potential threat, and something that needs to be quashed. The Metatron has no regard for HUMAN life, that was made completely clear in Season 1. Thusly, he would also have NO regard for Crowley's life. He also knows that Crowley really has the ability to stop the end of the world; it's already happened!

THE TALK: Pretend for a moment we didn't talk about the almond syrup...Aziraphale still wants Heaven to be different, so he still thinks he can change things from the inside For The Better. The thing is...I don't think Aziraphale would have been as easily swayed into agreeing to this WITHOUT the almond syrup and a possible tiny miracle performed by the Metatron, but here we are. Also, if this conversation happened in the Bookshop, again I don't think Aziraphale would have been swayed in such a way. Now, moving on with the theory that everything the Metatron has done has pretty much sealed the deal even BEFORE Aziraphale goes back to speak with Crowley, at this point there was no way Aziraphale would have gone off with Crowley. Something impacted his ability to fully accept Crowley as he is, as he has always been (despite everything they've been through, the trust they have built over the years, etc.). Aziraphale really does have a purity of heart, even if over the years he has done some bastardly things (it's what always draws Crowley close). The THOUGHT that Aziraphale could have Crowley become an angel again, and "pure," and still be by his side must have been such a huge temptation for Aziraphale, one in which he couldn't resist. Ideologically, Crowley and Aziraphale are very different (just look at Episode 4 this season, and how Aziraphale struggled with the concepts of how something so bad-grave robbing- could have a good outcome for people who need to do it). So...The Talk doesn't end well, and neither are able to fully convince the other of their positions (and this is perhaps part of the manipulation effect Aziraphale is still under by the Metatron).

THE KISS: Utterly heartbreaking. Crowley is hopeful that this is possibly the last attempt to show Aziraphale how he feels since his words failed him. Also, Crowley is frantic that he is losing his angel, and that this REALLY COULD BE the LAST time he sees his angel...EVER. Crowley is devastated because it is not just the possibility of losing his angel because of death or erasure from EXISTENCE (the theme through this WHOLE SEASON), but by a CHOICE that Aziraphale is making (or seeming to make) on his own. Crowley is hopeful, but also desperate to have that final connection if this really is THE END of THEM. "It could have been us!!" Crowley walks out, and Aziraphale upset, in shock (but oh how he struggled NOT to hold Crowley- look at those hands during The Kiss), holds a hand to his lips to possibly remember the moment, to know what it felt like to be kissed (I believe this must have been the first one). Remember how he was when he first had food? Shock at first...and then he was ravenous. The quiet moment to himself holding that kiss, and upset at...Crowley? Himself? Both? Hopefully we find out next season. (I fucking LOVE YOU David Tennant and Michael Sheen- the acting in this was SUPERB!!)

Hope is NOT LOST...Aziraphale's choice to save humanity and Crowley without anyone (including us) really knowing about it: OK...HEAR ME OUT. The SECOND that the Metatron tells Aziraphale of the Second Coming, LOOK AT AZIRAPHAEL'S FACE. He had already told the Metatron he is coming up to Heaven before this information is presented to him. The look of shock and horror appear on his face, and now HE KNOWS what he is being tasked to do. He glances back at Crowley with A Look. Aziraphale has to steel himself to follow through with what he said. Perhaps THE KISS had dampened the impact of the almond syrup and the Master Manipulation of the Metatron enough where Aziraphale can MAKE THE CHOICE. Aziraphale can't run back to Crowley right now...it's too risky. Aziraphale also can't allow another Armageddon from happening, and he knows he will have to save humanity. He now has to enter the lift with a smile on his face and convince the Metatron that he is still under some influence and naive to the dangers that await him, Crowley, and all of humanity.

Aziraphale's face during the end credits: I fucking love you, Micro Expressions Michael Sheen! What a performance without saying ANYTHING. I believe Aziraphale is thinking of all the ways he can change Heaven, including perhaps how he can stop the second coming. His mind is racing with a million thoughts!! I think he is trying to formulate his plan, but I also think that this look is a bit naive on his end, as he still thinks that he was hand picked to replace Gabriel because of his deeds, and not because it's a big manipulation. Aziraphale will have TREMENDOUS growth during the 3rd season, while also figuring out a way to make it back to Crowley (and perhaps do the biggest apology dance that was ever performed in the history of the universe).

Neil Gaiman is fucking brilliant, I love you!! Whether I'm right or wrong, I just love this world, and I love these two fools who have been clearly IN LOVE since....FOREVER! I can't wait to see what Season 3 brings!! I really hope things go well for the writers and actors regarding the Union contracts so we can all see this story come to the satisfying end that Neil Gaiman has said is in The Works. (I stand with Unions, I'm part of a Union myself!)

[yesfxckyxu]

ʟᴏʀᴇ : ꜱᴜᴘᴇʀɴᴀᴛᴜʀᴀʟ ʀᴇᴀʟᴍ

Side Note … › Since I don’t like dealing too much with canon elements, a lot of things will be altered when it comes to the Supernatural lore from the TV series.

☒ The Men Of Letters

The organization, much like in the show, has an unspecified date of becoming. They were known for hunting down witches and other beings of the unknown. They are known to toss around their political power to get what they want, even risking their own members. Which speaks a lot of how they function, as if one member were to disobey or act against the whole organization—they are terminated. Through death. 

The organizations are run by elders who have records of information that not even veteran hunters would know about; as they have dug deep into getting any information they can get their hands on when it comes to the unknown and supernatural.

Each member is ranked by supernatural knowledge that they behold; they higher the rank, the more powerful they are. 

⇩ Altered Lore ⇩

The American and British Men Of Letters are both functional and still run until now. They are mostly underground, despite having numerous political aspects to themselves. The reason for their underground work is mostly to ease suspicion and rivalry, and to avoid being shut down to their experimentation and illegal activity among others. 

They have numerous bunkers as safe havens, in many locations across the Americas as well as the UK. However, the American and British Men Of Letters have a minor rivalry as to who is better run and more equipped for the job. They often hold meetings to share information despite that they run similarly differently, which can cause conflict when sharing knowledge that they have obtained. 

As, despite that, both have similar views about having members be entered due to having a relative in the organization; the American Men Of Letters are more about ‘raising’ the relatives than having them join at a certain age like the British do. Those who are raised into it are less likely to go against the order than those that join. 

As it is rare for one that groomed to go against that way of enforced thinking. 

⇩ Additional Lore ⇩

With the mentions and inspiration taken in the show from the Books of Enoch—it will be placed here. Nothing in the books that Enoch wrote will be misplaced, as all of it will be taken as it is literally. 

As it states in Genesis, rebellious angels took women as wives, and furthered in the Books Enoch wrote: those children of that union were wicked giants. Those angels also committed acts of sin against animals, which would have resulted into creatures of the unknown that hunters hunt down. 

Enoch was God’s best friend, which would allude to him becoming Metatron. The highest ranking being above the Archangels. 

All this would suggest that history and modern Christianity have a huge conspiracy against themselves by hiding truths. 

[emptymanuscript]

And here it is (below the cut), the bit I want to capture the feeling of but not actually replicate.

I was so proud of engineering this bit in the Zero Draft. I needed to make sure God’s last word to Humanity was “Hate.” Which really isn’t a natural feeling word to end a sentence on. 

(The Zero Draft, by the way, is the full text without respect to making it any way publishable, or even really readable, of the entire series. The Hidden and the Maiden (The published book), The Lights of Other Lives (the binned book), The Eshu Adventure (this book), and basically every book I’ll ever manage out of The Knights of Day series are all sub bits of James’, Zephyr’s, and JJ’s adventures plucked out and rewritten from the Zero Draft. @coatntails is really the keeper of the Zero Draft, her grand project has been turning it readable. I’m mostly going on faulty memory.)

In the Zero Draft, the Knights go to The End of the World in Venice 15 something, something. I don’t actually remember and it doesn’t really matter, since 1500′s Venice doesn’t actually tie in to the larger story of the Knights. But there is another End of the World (there are lots) that does: The Fall of the Copper Kingdom and the dying of the Mythic Age. So I want to set the book’s nightmare angst moment of divine hatred there.

The problem is that Venice lends itself well to a Christian based screed that is easy to get and process. The Copper Kingdom, that explodes 12,000 years before Christ is born, doesn’t really lend itself to that kind of easy reference.

So, I have to adapt. I need the FEEL of an angel showing up over a field of destruction and proclaiming: “God hates you, so you deserve this,” (I am writing warlockiANGST) in a culture that doesn’t perceive the divine in the same way, for an audience that doesn’t really know anything yet about the Copper Kingdom, except possibly figuring out that the Copper Kingdom is supposed to be an inspiration for Atlantis. Depending on how clever they’re feeling and how good I am at hint dropping around unimportant elements.

It’s tricky. 

Hard thought work today.

Quote from the Zero Draft below the cut.

This is just after Venice has exploded in fire, lightning, and horn blasts, leaving ruins sinking into the water, the survivors clinging to the last bits, while James, Zephyr, JJ, and Ferris are trying to convince people to get on the Eshu before they drown.

A great splashing and then a rushing sound fills the air. Out of the water, from somewhere in the middle of where Venice was, a winged giant rises in prim grace from the water.

The giant is beautiful. More beautiful than any movie star or model - it actually makes your chest ache to look at him as he rises from the water on five beating wings.

He is untouched by the water - it does not cling to him - it does not drip from him. His purple robes and golden armor are completely dry.

About his neck is hung a horn. In one hand he holds a great staff and in the other a scroll clothed in white samite.

His sandaled feet come to rest, pointed, just above the now completely still waters. He slams his staff at the water and with a gong the water ripples away from the strike in a small wave.

His voice when he speaks is more beautiful even than his face and form. It is every sweet sound and so it is difficult for a second to make out his words but he speaks slowly and calmly as if anticipating the problem.

"Look upon me, you last sons of Adam and daughters of Eve. Behold me. I was named in the begining of things Hasmed, and my great wings were named Arakiel, Remiel, Uriel, Samiel, and Aziel. I have been set by the namer of all things - at the speaking of the Metatron who is the voice of YHWH: The Lord God Almighty to proclaim the Judgement of the Throne at the time of Judgement when the last worthies may hear.

"This is the Judgement of God - Upon Man his creation. Hearken unto me, for only once in all of creation shall HIS Judgement be known.

"YHWH, Lord of Thrones and Hosts. First and Last. Namer of creation. Thus he inscribes the last lines of the book of life, which I hold.

“Mankind, I find you wanting. I find you of less value than he I set to wallow in the dust all the days of the world. I find you of less comeliness than the bestial Leviathan I banished to the deep to go unseen all the days of creation. I find you a mistake. Could I undo the word that created the foulness of you - I would do so and cast you out as an unwanted abortion from my side. But I cannot and so I utter unto you the word of death and cast you into the pit to abide forever in misery as you belong. I renounce you and all that was human that I have cherished. I cast you to Adam's side and to Eve's side to abide forever away from my love or forgiveness. Let the last thing you hear be my last word upon you: For you, I feel only Hate."

I am occasionally curious about where and when I latched onto the idea of “God doesn’t like you.” No idea. But it is a theme that definitely pops up every now and again. It’s part of my writing DNA.  

And now I really need to get onto SOLVING the problem instead of stating it.

[vyragosa]

i can’t stop rambling because there’s just so much

there’s a scene in the Meta novel of enoch telling his past-incarnation the former metatron the following line through a mirror

"Everything is reincarnation, and I leave this as proof of that. When you wake up, you will know it to be true." 

he leaves a red rose from the romantic garden of eden destined for (adam and eve(well no eve )) he attempted to create which technically ended up for two men instead

and lo and behold.

who has an illustration holding it.

[moltengoldveins]

literally sobbing I learned Forbidden Knowledge In geometry class today and I must share it ok I want everyone to guess what this thing is called before scrolling down:

everyone have their guesses? Everyone thinks they know what this might be called? .

.

.

Metatron’s Cube.

ITS CALLED METATRON’S CUBE. I KID THEE NAY. THIS “Before time began, there was The Cube” BULLCRAP EXISTS AND IS TAUGHT IN LEGITIMATE SCHOLARLY SETTINGS. And yknow what’s worse? It actually kinda is functionally a diagram of like…. How reality works. like you could argue for this thing existing before time actually. Here, lemme ‘splain:

so, in geometry, there are a limited number of sides a 2D or 3D object can have and still ‘tessellate,’ or fit together in an infinite repeating pattern. For an example, triangular and square floor tiles, or hexagonal grids like honeycomb. In 3D, we have most dice shapes. A D4 is four equilateral triangles, a D6 is six equal squares, etc. and those solids that can be built of equal shapes set at equal angles to each other without any overlap or gaps are called ‘Platonic solids’ and they’re SUPER HARD TO DRAW in 2D, considering youre trying to make a perfectly internally symmetrical shape in perspective. Except, of course, in one case. One magic thing that can make every single Platonic solid easily and all at once, TWICE. And that thing is Metatron’s Cube. Behold:

I hate this. It’s so stupid. Why is it called that. Why is it so fundamental to our understanding of geometry. Why is it a fundamental representation of number and space. Why. Why before time began was there the Cube. I hate this so much.

[dxrknessembr8ced]

8:13 P.M.

Metatron now walking through the darkness she stares at the night skies above her and see the most horrific sight within the ruined metro city. She watched a large swarm of sharp dark daggers flying around through the sky across the entire city for tonight is the night the night feeders have come to eat anything in the darkness. The night feeders are the most terrifying and destructive bio organic weapons in all of metro city for they don't discriminate, these hyper aggressive predators are nocturnal and will eat any and all organic matter they see such as humans, darkstalkers, other bio organic weapons the list go one. However despite this the night feeders they won't feed on Hsien-Ko due to the fact Hsien-Ko and her offspring are like their kin. Night feeders that feed into the darkness of midnight.

No matter what animal they mutated from but one thing metatron knows is that she must flee back into the nest as quickly and safely as she can so she activated her own defense mechanism. Metatron's body start to glow illuminating into the darkness where they avoided her completely due to how bright that bioluminescent glow around her is. The color is beautiful reminiscent of that of an angel from the biblical stories from the bible. While glowing in the darkness she no longer has any reason to fear them instead she stares at the creatures flying passed her despite their horror, she can see the beauty in these creatures. The night feeders are not sadistic, they do what any animal do in nature survive and eat.

The girl can't but to smile at them for the way they fly like knives and daggers being thrown seems whimsical truly such a sight to behold to be sure as the night feeders now move through the north side of the city to avoid the still glowing creature and that is her cue to leave.

Metatron continued walking back a few more miles to where the nest is hoping that no one would see her, she's worried that if Hsien-Ko or the others find her in the nest they'll kill her do she have to be quiet and silent as possibly to crawl back home she knows that the nest is her territory and lord help her when things go horrifically wrong but at least the night feeders avoid the nest so the bioluminescent glow is no longer needed.

[skydinzeal]

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Metatron angel

The discussion in the previous sections has made clear that the traditions about Metatron offer a plethora of titles for this exalted angel. The titles seem to derive from many sources: the early legends about Adam, Enoch, Yahoel, Michael, and Melchisedek, as well as the later rabbinic and Hekhalot angelic lore. In respect to these conceptual developments, Sefer Hekhalot can be seen as a compendium or an encyclopedia of Metatron’s titles; as such it offers a great variety of early and late designations, including such well-known titles as the Prince of the World, the Youth, and the lesser YHWH. Yet, if attention is drawn to the frequency of the occurrence of these titles in 3 Enoch, one of them stands out through repeated use in the text. This title is connected with the unique place that Metatron occupies in relation to the divine Face; he is considered a special servant of the divine Presence,. Scholars have previously observed that in 3 Enoch, Metatron becomes “the angel who has access to the divine Presence, the ‘Face’ of the Godhead….”Synopse §11 stresses that Metatron’s duties in this office include the service connected with the Throne of Glory.

It is noteworthy that the appellation “Prince of the Divine Presence” repeatedly follows the name Metatron in 3 Enoch. For example, with this title he is introduced in chapter one of Sefer Hekhalot; in this chapter his duty is to invite the visionary, Rabbi Ishmael, into the divine Presence and to protect him against the hostility of the angels:

At once the Holy One, blessed be he, summoned to my aid his servant, the angel Metatron, Prince of the Divine Presence. He flew out to meet me with great alacrity, to save me from their power. He grasped me with his hand before their eyes and said to me, “Come in peace into the presence of the high and exalted King to behold the likeness of the chariot.”[5]

A few verses later, in 3 Enoch 1:9 (Synopse §2), Metatron is mentioned as the one giving R. Ishmael the strength to sing a song of praise to God. Here again the angel is introduced as the Prince of the Divine Presence. The recurring designations of Metatron as the Prince of the Divine Presence are puzzling since this title does not belong exclusively to this angel. The Merkabah tradition follows here the pseudepigrapha which attest to a whole class of the highest angels/princes (Mynph yr#) allowed to see the divine Face.[6]

It is significant that, although the designation is not restricted to Metatron, in 3 Enoch it becomes an essential part of the common introductory formula, “The angel Metatron, Prince of the Divine Presence,” through which R. Ishmael relates the various revelations received from his exalted angelus interpres. It also becomes a dividing grid of the microforms that partitions the narrative of Sefer Hekhalot. Sometimes this text seeks to enhance the repetitive formula by adding to it the additional definition, “the glory of the highest heaven.” The combination of the expressions, the “Prince of the Divine Presence” and “the glory of the heaven,” does not appear to be coincidental since the divine Presence/Face is the divine Glory which leads to the transformation of any servant of the Face into a glorious angelic being resembling the luminosity of the divine Face. This paradoxical transformation is described in detail in Synopse §19, where Metatron conveys to R. Ishmael his dramatic transition to the role of the servant of the divine Face:

R. Ishmael said: The angel Metatron, Prince of the Divine Presence, the glory of highest heaven, said to me: When the Holy One, blessed be he, took me to serve the throne of glory, the wheels of the chariot and all the needs of the Shekinah, at once my flesh turned to flame, my sinews to blazing fire, my bones to juniper coals, my eyelashes to lightning flashes, my eyeballs to fiery torches, the hairs of my head to hot flames, all my limbs to wings of burning fire, and the substance of my body (ytmwq Pwgw) to blazing fire.[7]

It was already observed that the idea of the Prince of the Presence is both mediatorial and liturgical, and therefore is closely linked with the motif of the celestial curtain, Pargod (dwgrp),[8]the entity which separates the divine Presence from the rest of the heavenly world.[9] The function of this Curtain which can be viewed as a celestial counterpart of the veil found in the earthly sanctuary is twofold. First, it protects the angelic hosts from the harmful luminosity of the divine Face. At the same time it shields the Deity by concealing the ultimate mysteries of the Godhead now accessible solely to the prince(s) of the divine Presence whose duty is to serve the Deity behind[10] the Curtain.[11] Several passages found in the Hekhalot literature depict Metatron and other princes of the Face as attendants who serve the divine Presence in the closest proximity to the Throne, and have the right to enter the immediate presence of the Lord.

The passage found in Hekhalot Zutarti says that “when the youth enters below the throne of glory, God embraces him with a shining face….” This description conveys the fact that the deadly effect of the vision of the luminous Face, which terrifies the angelic hosts, cannot harm the Youth who executes here the office of the sar happanim. This tradition stresses the difference between the princes of the divine Presence and the rest of the angels, who must shield their own faces because they cannot endure the direct sight of the Deity. Another significant feature of the passage from Hekhalot Zutarti is that the Youth’s entrance into God’s presence is understood here liturgically, i.e., as the entrance into the heavenly tabernacle which, according to other traditions, is located beneath the Throne of Glory.

Another text preserved in the Cairo Genizah also depicts the Youth as emerging from his sacerdotal place in the immediate Presence of the Deity: