You’ve probably noticed how in Good Omens 2 Crowley’s eyes are brighter, more saturated, as if glistening with liquid gold. We’ve already covered his hair. And it’s not only the visual aspect of him — even in objectively stressful conditions, Crowley appears mature and put together, way cooler and more protective than before. Even his faults are heavily romanticized in the past and present scenes, reminding of the S1 body swap, when Aziraphale projected his love to him on the way he played the demon in Hell.
It’s not just the demon. The whole season is more vibrant, bolder, filled with sunshine. Just like a summer that was never supposed to end. Like a memory of a loved one seen through the eyes of someone who thinks of them every day until the end of the world.
S2 seems ridiculously saturated, whimsical, and full of red and gold, just like a certain demon. Aziraphale not only painted his bookshop in his image, but literally colored the whole world in Crowley’s colors. It was such lush and saturated and blooming with warmth and hazy light.
It’s either that all the newest events are just another memory seen through a certain angel’s eyes, or said angel actively made it appear this way — as in, his feelings grew so strong that they’ve started to warp the reality around him. And it’s a well-known fact that Aziraphale has a tendency to affect his surroundings, either unconsciously, when his presence in the bookshop literally lightens up the sky seen through its windows, or very much consciously, when he takes over the position of a master puppeteer and manipulates people with or without the help of his miracles.
S1 was more dramatic and apocalyptic, but not particularly gray — at least not as much as the color grading typically used in portrayal of similar apocalyptic narratives. S2, at least as seen through Aziraphale’s own La Vie En Rose lens, is vibrant and saturated. And those colors drastically fade in the heavenly light of the elevator during the credits, suggesting that they won’t be as visible in the course of S3.
But I don’t want to ramble about the apocalypse sandwich and the three-act structure here, so let’s circle back to S2.
Good Omens 2 was really set in a summer that was never supposed to end. But it did, autumn crept in, and there was no chance of hearing the nightingales sing. They all had left by the time an angel and a demon finally kissed.
In the most literal sense: the very last nightingales usually migrate from the UK to their wintering grounds in Sub-Saharan Africa in the first days of September.
Aziraphale was right that nothing lasts forever — and the passage of time on Earth is marked by subtle details invisible to the immortal eyes.
The main thing about autumn migration is how sudden and hard to predict it is. The birds start disappearing gradually, often without notice, until at some point they are no longer here. Much like the angel leaves the bookshop — their shared nest — to spread his wings and fight.
And it was basically announced on the poster.
Can you see the migratory formation of birds up in the sky? It looks like Aziraphale is the last one to get off the ground and fly.
Adam Koziol is a photographer based in Poznan, Poland. In 2013, during a trip to Borneo, while talking with one of the representatives of the Iban people (the People of the Dayak group in East Malaysia, Indonesia and Brunei), he realized that 3000 years of culture and traditions are doomed to disappear in the coming years. So he decides to start a documentary project to tell about these forgotten and doomed tribal cultures.
a plot in dirk gently im forever sad they didn’t do is alternate realities…dirk and todd finding an alternate reality machine or something and accidentally get sucked into watching them in the alternate realities, their life, their experiences, what’s the same and different…they watch a universe where dirk was never holistic, with a happy family and life, never even saw the inside of the CIA and todd stays until dirk is ready to let it go. but in every reality they find each other. hundreds of jobs and dynamics, college roommates, co workers, dirk goes through the amanda’s, farah’s window, but in every situation they always end up together.
anyone else utterly exhausted by people thinking adding more violence and "fixing" nitpicked plot holes makes adaptations good? cuz im fucking tired bro.
i think keeping the plot details vague and only showing the aftermath can actually make a story stronger. a piece of media doesnt have to be a literal war documentary to show the hardships of a war
If I had a penny for every time I've fell in love with a British gay autistic detective with a quirk that makes him different to everyone else leading to him being misunderstood by most people with his main compainions actor being a Baggins in the LOTR Fanchise I'd have two pennies, but it's real fucking odd it's happened twice.
dr has a trend if introducing characters which are built to be a “weapon” of sorts. this is seen primarily and most explicitly within three characters, mukuro, peko and izuru.
mukuro is a child solider ripped away from her sister at a very young age in order to join a military group, being trained rigorously, her humanity stripped away, personality harshly suppressed.
peko is similarly condition from birth to be an object, her humanity was denied from her from the start as much as she wanted to be a real girl she was denied even the most simple aspects of childhood.
izuru was quite literally created to be a symbol of hope, to be used by hopes peak to spread their ideology of talent being the most important aspect of ones identity. this is precisely why hajime had to have his existence supposed in order for izuru to be created, izuru was made not born his humanity questioned from his very creation
all of these characters have in common that they were designed to be “perfect” or were in the process of being constructed as such
peko being the perfect soulless tool, mukuro being the perfect apathetic soldier and izuru being the perfect… perfect thing
their sense of perfection is only seen as capable of being developed through dehumanization, erasing their identities in favor of a new life of limited existence. humanity is inherently imperfect and the removal of their senses of selves intends to resolve that human nature of not being completely controllable
thats why their narratives are so compelling because they all end with proof that theyre NOT perfect even with all the conditioning. mukuro was not good enough in junkos eyes and was killed because of it, peko couldn’t predict fuyuhiko seeing her as a person and his hesitancy to kill mahiru and hajime failing to fully disappear
danganronpa has a lot of subtle writing to it that really aids in emphasizing how the characters identities were constructed
also if you look at dr through the lense of perfection pekos character serves as subtle foreshadowing to the concept of izuru, prepping the player with the idea that a persons individuality can be forcefully suppressed
"Murder On the Dance Floor" by Sophie Ellis-Bextor or otherwise known as The Past (Killing Eve/2019) written and supervised by Emerald Fennell) is Prologue (Saltburn/2023) also written and directed by Emerald Fennell)
Coincidence? Please.
Everything's connected.