#08/1941

[carbone14]

Soldats australiens au fusil-mitrailleur Bren sur la ligne de front pendant le siège de Tobrouk – Campagne d'Afrique du Nord – Août 1941

Photographe : George Silk

©Australian War Memorial - 009510

[theastrophysicistnextdoor]

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

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

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

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

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

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

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

Here are the pieces we have successfully decoded: 

HAVE A DREADFUL ETERNITY

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

TOMMY’S A LEGEND

Do we know a Tommy?

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

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

PAUL’S OUR MIXING HERO

Could that be the Re-Recording Mixer PAUL McFADDEN?

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

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

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

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

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

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

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

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

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

Back to S2E4 06:19 to 08:23

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

SHE’S IN MA PHONE

Who are we talking about now?

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

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

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

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

An amazing joint effort with @noneorother, @kimberleyjean, @thebluestgreen, and @embracing-the-ineffable at the @ineffable-detective-agency (with the incredible @maufungi, @somehow-a-human, @lookingatacupoftea, @komorezuki, @havemyheartaziraphale, and @dunkthebiscuit)

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

[pinturas-sgm-aviacion]

1941 08 Spitfire MkVa - Darryl Legg

Spitfire Mk.Va W3185 D-B "Lord Lloyd No.1", Douglas Bader, Tangmere Wing, August 1941.

Approximately 220 Spitfire Mk.Va were produced from the first half of 1941 as a stop gap measure to counter the new German fighters being encountered like the Fw190 over the English Channel. In early 1941 an urgent need for improved performance saw the installation of the 1440hp Rolls-Royce Merlin 45 into approximately 100 strengthened Mk.Ia airframes on the Supermarine production line, thereby creating the stop-gap Mk.Va. An additional 120 or so Mk.Ia and Mk.IIa airframes were retrofitted with the Merlin 45 engine creating a total of approximately 220 Spitfire Mk.Va. The Mk.Va saw a significant increase in performance over their donor airframes and featured an improved, deeper, oil cooler with a rounded opening, windscreen de-icing equipment, Martin-Baker canopy hood jettisoning gear, IFF Mk.II (with aerial wires from the tailplanes to the fuselage sides) and were usually equipped with the TR.1133 UHF radio that did not require an external aerial wire. Metal ailerons were being developed at this time but they do not appear to have been fitted to any factory-built Spitfire Mk.Va, only being retrofitted much later in 1941.

[pauszkopkodo]

Rejtő Jenő egészalakos, dedikált fotója | 1928, Berlin

„A regényalakjaihoz méltóan kalandos életű, bokszolói múlttal is büszkélkedő Rejtő nem félt megvédeni magát, mikor az utcán belekötöttek. Ezen a felvételen látszik, hogy sportsérülés következtében az írónak arcizom-bénulása volt, ami miatt nem tudott nevetni, s mosolya is visszafogott. Rejtőről nagyon kevés fénykép maradt fenn, stúdiófelvételről nincs tudomásunk, pár családi, baráti, illetve fotóriporter által készített fotó őrzi az író emlékét.”

Rejtő Jenő levele Buttola Edénének Rejtő legjobb barátja Buttola Ede [Edi] (1902–1981) közkedvelt zeneszerző, jazzmuzsikus, szaxofonos. Edével, valamint annak ikertestvérével, Buttola Istvánnal együtt nőttek fel, Rákosi Szidi híres színiiskolájába is együtt jártak, barátságuk az író haláláig fennmaradt.

Kedves Mancika! Fogadja legőszintébb jókívánságaimat és gratulációmat és higyje el, ha most ott állnék maga előtt, középeurópa legünnepélyesebb arcát vágnám és zavaromban rángatnám a kabátom szegélyét, amint azt a néptanítók szokták a ministeri biztosok előtt. Szép versikét sajnos nem küldhetek, mert a költészet feslett múzsájával végleg szakítottam, de higyje el, hogy egy olyan igaz, őszinte jókívánság mint az enyém, nem szorul olyan erőszakolt díszítésre, mint a rím. Különben is, modern költő vagyok, és az üdvözlő vers hemzsegne a "halál puszpáng…lidérc szamóca…kápolnás pörösznyés" és egyéb kedvelt kitételeimtől. És remélem, hogy mi még nagyon jó barátok leszünk és ha van a szívében egy kis hely, egy érdektelen jóbarát számára, úgy kérem, ajándékozzon meg a szeretetével és meg fogja látni, hogy az unszinpatikus külső alatt egy baráti szeretet tekintetében, őszinte szív van. És nagyon szeretem az Edit és így természetesen most már Magát is. Bizonyos fokig elhagyatott és elvadult életet élek, aminek részben én vagyok az oka, és amit egy cseppet sem sajnálok, de ha mégis lenne egy kis hely valahol ahol kedves emberekkel eltréfálódzhatom és el "nagyképűsködhetem", azt nagyon megbecsülném. Nem igen tűrök meg barátot magam mellett, de az Edi az mindig más volt és az ő otthona is más lessz nekem, mint azok a családi helyek, amelyeken eddig hosszú téli délutánokat unatkoztam át végtelen zongora-(???) mellett. Higyje el, hogy most már nagyon szeretem és kezeit csókolom a viszontlátásig: Jenő U.i.: „A Gyuluson nagyot röhögtem. A töltő tolla nem szuperált, hát ugy rázta írás közben mint zsidók peszahkor a lülefet.” Jenő

Központi Antikvárium 164. árverése (2023. 12. 08.) 82. tétel, kikiáltási ára: 1.500.000 HUF: – Rejtő Jenő egész alakos fényképe dedikálással – Rejtő Jenő levele Buttola Edénének – Rejtő Jenő Vanek Úr Párizsban c. regényének gépirat részlete „Rejtő épp idegszanatóriumban tartózkodott, amikor a regény színvonalával elégedetlen kiadója, a Nova Irodalmi Intézet javításra visszaküldte a Vanek úr Párizsban kéziratát, amit a kritika miatt feldühödött író ketté tépett és többé nem foglalkozott vele. A darabokat gépírónője szedte fel és ragasztotta össze. Rejtő emiatt ekkor, 1940 végén – 1941 elején, több oldalas zaklatott levélben szakított a Nova kiadóval, mely 1935 nyarától a „kalandos regények” sorozatában P. Howard néven 14, Gibson Lavery néven pedig 5 regényét jelentetette meg. A töredék variáns, a kiadott regény szövegével nem egyezik meg. Másik különlegessége, hogy a regény egyik fele kézirat, a másik jegyzet formájában maradt fenn. Rejtő halála után bátyja, Révai Gyula dolgozta össze és egészítette ki a művet, melynek kiadására a Népszava és a Mikrovar kulturális szolgáltató kisszövetkezet vállalkozott 1986-ban.”

[sonkitty]

Timestamp Notes and Theory for Episode 1: The Arrival

This post was last updated 08/27/2024.

I am heavily referencing this wonderfully helpful post: timeline rundown. I am also referencing this post, The Main Bookshop Clock's Hands are BACKWARDS and Other Revelations!

Below are my notes for an overall forming theory and then getting into the specifics of episode 1. I have a few different notes of what I think the time is from the referenced link above, will be naming the days, and guessing some order.

Reminder that I'm growing more confident in my theory that Crowley earns his red streak from a Big Miracle performed the first time Gabriel arrived with a cardboard box.

...

This theory is very tentative.

Episode 1 is an out-of-order mix of Saturday, Sunday, and Monday. Most of it is Monday.

Maggie and Nina might not have "existed" until Monday. In Before the Beginning, we are informed of the concept of "pre-aged" stars, so these characters might be like that. They are "pre-aged" humans, whether that's from the Big Miracle Crowley did or was part of or the Metatron messing with the book that holds most or all of this story or Adam creating a pocket reality or whatever.

The clothing for Maggie and Nina is the story's main clue that most of episode 1 is Monday. Their clothing also gives clues for the other days.

In that timeline rundown link, my interpretation of events is that before Crowley enters Heaven in the present day, the clock by Aziraphale's desk works such that the ornate hand is the minute, and the other hand is the hour.

This functionality reverses no later than Maggie and Nina being shown using fire extinguishers on the demons in the bookshop. From that point onward, the ornate hand will be the hour, and the other hand will be the minute. I took some extra time and effort to check the 1941 minisode and season 1 out of curiosity. The clock hands match the meaning for after Crowley returns from Heaven in episode 6, where the ornate hand is the hour, and the other hand is the minute. If my conclusions are correct, the main bookshop clock hands are actually reverting, in episode 6, to how they operated before Season 2, Episode 1 started.

...

Extra ideas:

Something of significance happened 8 months ago because that's how long Maggie has not paid her rent. My main best guess is that is when Hell kicked Crowley out of his flat.

The week that Season 2 covers reset at least once or the overall story is a time loop of different timelines stitched together, including season 1.

With at least two significant games happening in Good Omens 2, the humans are game pieces, and the setting is the game board. Hence, these elements are allowed to shift as part of the games. The games are The Sideburns Scheme and Earthly Objects.

...

Episode 1: The Arrival

The present day part of episode 1 starts on Monday sometime before 4:20PM.

When Aziraphale receives Maggie's note, it's difficult to find the clock, but it is there. The time is, conceivably, 3:58PM. If the hands are not reversed yet, the time is possibly 11:20AM. Based on the season overall and maybe the bookshop closing at 3:30PM, I do think 3:58PM is the correct time.

In t he record shop, Maggie's watch is visible when Aziraphale visits, but I find it very difficult to read since it seems to fluctuate during the scene itself. Based on what I can read of it, I hesitantly think it goes 12:25PM, 12:32PM, 12:00PM, 11:25AM, 11:57AM. With such fluctuation, I don't trust it. But still, I'll acknowledge that I tried to check it. Again, based on how the whole series goes, Aziraphale's bookshop clock looks to have the more likely correct time.

Aziraphale receives Maggie's note.

Aziraphale goes to the record shop and talks to Maggie.

...

Crowley in St. James' Park. According to the referenced timeline rundown post, chimes indicate 5:00PM. I could not find all 5 but will trust that person's judgment better than mine since it's not the type of thing I even knew to check for at all. I think this day is Sunday, not Monday, and happened before the past two scenes of Aziraphale receiving Maggie's letter and their conversation in the record shop. Crowley has earned his red streak, receives his mail, and will throw the mail away later.

Back to Monday...

Maggie enters the coffee shop, talks to Nina.

Nina reacts to the events happening outside.

For now, my guess is Gabriel's naked arrival sequence is actually still Monday, possibly two different versions of Monday due to how the extras shift in the background. It could be both Saturday and Monday instead, but I haven't been able to figure it out. I lean more toward two different versions of Monday.

...

Aziraphale getting up from chair to answer door, 4:20PM.

Maggie and Nina comment on what they saw.

Michael on phone in Heaven. My current speculation thinks this phone call is also Monday but actually more like 10:04AM, rather than between 4:20PM and 4:26PM. My reasoning is admittedly very biased in trying to fit the pieces where I want them to be. Such a time would allow Shax to receive news that events in Heaven are related to Gabriel, then pass that along. She has not been given the specifics of the threat on the Book of Life. I would rather think such is the order of things than that Crowley's supernatural time zone is off from bookshop time by something close to 5-6 hours.

...

Gabriel receives hot chocolate in bookshop, 4:26PM.

...

Crowley throwing mail away, then looking at phone by his car in isolated street, 10:35AM. This day is Monday morning. This scene took place before the Whickber street scenes but not Michael on the phone in Heaven. This scene is the morning after Crowley met with Shax on Sunday when she gave him his mail. The mail is supposed to connect the scenes as close to each other in the sequence of the story.

...

Crowley answering phone, his watch shows 11:35AM. I think this one is Crowley making Shax wait for an hour to manage his personal space with his sideburns. So, still Monday morning before most other scenes.

...

Aziraphale looks in the cardboard box. When he asks what was brought, the clock says 4:30PM. The fly was in the box.

Aziraphale calls Crowley. Gabriel still has hot chocolate to indicate not a lot of time has passed.

Heaven, Matchbox Muriel Scene #1, Muriel finding the matchbox. At this point, Heaven seems to line up with the time that is happening in London on Earth. Muriel finding this matchbox at something like 5:00PM. This speculation is, again, me being biased on trying to fit things where I want them to go. It is based on a basic work day of Earth ending at 5PM for many. Since Heaven doesn't seem to sleep and always has daylight, Muriel could have been between shifts of what they were working on to somewhat mimic an Earth office environment. Also, this part would fit the time between the last time-stamp shown and the next potential time-stamp shown.

Crowley enters the coffee shop, presumed Monday due to Nina's employee and Nina's clothing.

Crowley sits down, and there is a sign that isn't behind him yet. In the next cut of him sitting, there is a "TODAY'S SPECIALS HONOLULU ROAST" sign. That sign has Nina's handwriting. The other sign above it doesn't. The shift could be a sign of the differing timelines. That is the more plausible and easy idea in play.

Due to my retying studies, knowing that Crowley performed The Perfect Entrance Trick on the way in, and knowing that the spaces read Crowley due to his sideburn lengths, I'm starting to suspect those silly Tied Hands can perform tricks. In this case, this event is like a little trick he and the space perform with each other to make something appear.

Plus, the sign seems to be acting as an assist while Crowley's Tied Hands manage a Table Connection Reflection (best guess for the name from me). The full text of the sign is visible when Crowley says, "Charmed." It's the last cut with his hand touching its reflection on the table before he leans forward in the next cut.

A previous draft of this post considered that the sign was a hint to a potential Saturday visit, but I have since changed my mind. I think it's Monday during the whole scene. It could be two different versions of Monday, or it could be trickery because Crowley's a demon playing around with the space, or it could be both of those things, but I'm still guessing it is Monday.

Crowley and Aziraphale exit the coffee shop and encounter Maggie with the record. They then finish crossing the street.

Maggie gives Nina the record. Nina says "Back again?" to indicate the day is the same one as shown earlier. Maggie's dialogue mentions getting a "...final something. End of the day."

...

In the bookshop, Crowley removes his sunglasses and starts the scene with, "I wasn't gonna say this out there..." The main bookshop clock is not visible during this scene. The other one that occasionally shows up is visible and blurry when Gabriel brings out the yellow feather duster. I have it at questionably 5:25PM. For almost all of this scene, the framing is making it clear that Crowley's red streak is there.

...

Bookshop, private room scene #1 of the season. I'm not sure which day most of this scene is when considering both Saturday and Monday. There is a clue about Monday with just dumping Gabriel and the Something Terrible in the dialogue. There is a clue about Saturday due to Crowley's mostly lacking red streak. So, it seems to be a mix of both days, playing out the same way, and then something happened after Crowley's exit to change things.

Crowley has a subtle demonic hiss and says, "You're on your own with this one." That's Saturday because the timing and framing is showing that he hasn't earned his red streak yet.

The first cut after the door is shown as opened is Gabriel pretending to be Crowley. I theorize that the day there is also Saturday, or at least represents Saturday.

Then in the next cut is Aziraphale pretending to be Crowley. By then, the day is Sunday, or the cut at least represents Sunday. He passes by the cardboard box, leaving it untouched and unquestioned. While Aziraphale does not have a more saturated streak of red hair, red that is more red, he does have a brighter streak of hair where the more saturated streak tends to appear above Crowley's left eye.

Additionally, the clothing is more blue, much like Crowley's clothing in the park scene earlier this episode where I speculated the day was Sunday.

These characters are editing the story to indicate Crowley will storm out on Monday.

They also cut what was found out about the box and actions taken that involved putting the Book of Life into the matchbox without setting off the alarms in Heaven yet. They make themselves forget, leaving themselves clues to solve their own puzzle.

Crowley would have earned his red streak through a Big Miracle that happened at midnight on Sunday with a full moon.

...

Once Crowley has three visible fingers touching his sunglasses, the storyline has returned to Monday, as it then joins with the Monday clothing Maggie and Nina are wearing. They watch Crowley from the window.

Crowley shouts "Ten!" and the lightning shoots out from him.

Maggie and Nina end up locked in the coffee shop.

In Heaven, Michael and Uriel talk. Eventually, Saraqael and Muriel arrive for Matchbox Muriel Scene #2.

Back on Earth, Crowley arrives at his car in the isolated street at night.

Beelzebub summons Crowley to Hell.

Having exited Hell, Crowley starts driving to return to the bookshop.

In the coffee shop, Maggie and Nina run to hold out their signs. A passerby does not stop to help them.

Crowley driving, changes three traffic lights.

Maggie and Nina talk about the record shop's history.

...

Crowley arrives and restores power to the coffee shop. The time is 21:02 (9:02PM) on Nina's phone.

...

The story wants it known that the apology dance happened at 9:06PM. The clock by Aziraphale's desk is as clear as it will ever be on that point.

...

When Crowley finishes the dance, the other clock behind him is visible, and that time looks more like 9:00PM.

...

After Gabriel says, "Where did you come back from?" the bookshop clock looks a little burred but now more like 8:01PM. We've gone back an hour. There are too many other indications this day is still Monday for me to think we've reverted to Saturday. Crowley's hair being charged with so much red is the main one. The scene is also too cohesive for me to think that the events within it are out of order.

As Gabriel is saying, "Is it big on the outside?" still seems to be 8:01PM.

Crowley telling Gabriel no, still seems to be 8:01PM.

Aziraphale suggesting half a miracle, seems more blurry but 8:01PM.

The clock is intentionally too blurry just as Crowley is describing how small they have to make the miracle.

...

With the camera panning down during the miracle, the time seems to be 9:01PM or 9:02PM.

...

The clock is intentionally too blurry with Crowley saying, "I don't know. Probably."

As Gabriel gets up from the chair, the clock has switched back to just after 8PM.

Crowley, preparing to stand on chair, still just after 8PM.

Crowley, jumping down, still just after 8PM.

In Heaven, the alarms go off.

...

So, the way I read it, after Crowley returns at night, the clock can only ever be trusted on the point that Crowley danced at 9:06PM. The characters telling us this story aren't concerned about the clock consistency or clarity for a lot of the scene, but they definitely want us to know that Crowley danced at that specific time. That's why they are making it as clear as possible and not so much the other times.

If you want to get more specific, Crowley is telling us the time was 9:06PM, and he is more certain of that than the other characters because of the clock being so clear. He's the one in the best position to sense-with-his-eyes that clock at that time. His layered play in the games probably wanted that time too.

From here on out, the story is actually more honest about the order of present day events. Background humans will act or be positioned oddly. Sometimes the clocks will have questionable times and continuity errors, but the story will flow forward, naming or hinting to previous events affecting those being experienced in the present. Aziraphale will tell us that the scene between him and the Metatron happened already when things are shown out of order in episode 6.

...

That's all for this post.

...

More: Timestamp Notes for Episodes 2-5

[indigovigilance]

Every single flashback in chronological order: episodes and timestamps

Before the Beginning - S2E1 0:00 to 6:20

Just After the Beginning, 4004 BC, in Garden of Eden - S1E1 1:56 to 6:03, S1E3 0:00 to 0:51

The Flood, Mesopotamia, 3004 BC - S1E3 0:52 to 2:47

Book of Job, Land of Uz, 2500 BC - S2E2 0:00 to 5:37, 22:30 to 40:00, 44:10 to 46:49

The Crucifixion, Golgotha, 33AD - S1E3 2:48 to 4:29

Oysters, Rome, 8 Years Later (41AD) - S1E3 4:30 to 5:31

The Black Knight, Kingdom of Wessex, 537 AD - S1E3 5:32 to 7:56

Hamlet, The Globe Theatre, 1601 - S1E3 7:57 to 11:53

Reign of Terror, Paris, 1793 - S1E3 11:54 to 15:31

The Resurrectionists, Edinburgh, 1827 - S2E3 8:36 to 12:57, 17:37 to 22:11, 24:28 to 33:59

Holy Water Request, St James Park, 1862 - S1E3 15:32 to 17:28

The Gavotte, A Discreet Gentlemen’s Club in Portland Place, 1880s - S1E4 38:10 to 39:14

The Blitz, London, 1941 - S1E3 17:29 to 24:07, S2E4 5:11 to 6:19, 8:24 to 11:06, 15:57 to 38:00

Holy Water Delivery, SOHO, 1967 - S1E3 24:08 to 28:38

Designing the M-25, Hell, 1970’s - S1E5 21:23 to 22:27

Painstakingly recorded by yours truly, @indigovigilance

[brunito812]

Argentina - 16-08-1941

[gatutor]

Jane Merrow (Hertfordshire, England, 26/08/1941).

[cruciatusforeplay]

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

Crowley and Aziraphale's Canonical Chronological History

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[margotfonteyns]

Bewitched: Ladies Sing Rodgers & Hart

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

Bonus Tracks:

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

Download: flac / mp3

[linesandmarksonpaper]

Milton Caniff - Terry and the Pirates 08/10/1941 panel

[carbone14]

Voiture blindée soviétique BA-10 près de Qazvin au nord de l'Iran pendant l'invasion anglo-soviétique de l'Iran (Opération Countenance) – Campagne du Moyen-Orient – Août-septembre 1941

[pinturas-sgm-aviacion]

1941 08 Heinkel He111 H6 VG+ES - Shigeo Koike - box art Hasegawa

[cobalt-axolotl]

Birthdays in my AU’s

Edwin Alastair Carter (12/13/1890)

David mobi carter (01/13/1941)

Nikki Bora Carter {Maiden name is Cho Nikki Bora} (11/09/1953)

Kasey Roxanna Carter (05/06/1971)

Cassidy Noelle Carter (05/06/1971)

Nickolas Alastair Carter (06/16/1983)

Clover Makenzie Carter (06/16/1983)

William Alexander afton (06/21/1941)

Michael ray afton (07/07/1969)

Evan Fredrick afton (10/27/1971)

Elizabeth grace afton (12/01/1983)

Henry Lorenzo Emily (06/21/1941)

Charlotte valentine Emily (02/14/1969)

Andrew Montgomery Emily (08/09/1971)

Sam Giuseppe Emily (09/05/1983)

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

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

Cassie Maxine Carter (01/12/2009)

Benjamin Mason afton (01/12/1995)

Adriana smith (03/07/1983)

[pinturasdeguerra-1945-1985]

1952 08 Sabre vs MiG dogfight - Darryl Legg

F-86 Sabre FU-834 Jolley Roger the mount of Korean war ace Captain Clifford D. Jolley. He was to score seven Korean War victories, flying with the 335th Fighter-Interceptor Sqn, part of the 4th Fighter-Interceptor Wing. e 18th jet ace of the Korean War, and the first Air National Guard "ace" of the war from the (Utah Air National Guard).Captain Jolley shot down seven Soviet-made MiG-15 aircraft, earning his ace status.He joined the USAAF in 1941. Jolley learned to fly in 1942. He flew P-40s and P-38s with the 18th Fighter Squadron, 343rd Fighter Group, 11th Air Force in the Aleutians. He shot down 3 enemy planes during WWII.He first began flying P-51 Mustangs with the California Air Guard in San Bernardino in 1947.He transitioned to jets in 1948 at Williams Air Force Base, Ariz., and joined the Utah Air National Guard in 1949.During 1951, he toured the country with his Guard unit, putting on firepower demonstrations. Late that year, he attended Jet Gunnery School at Nellis AFB in Las Vegas. He and many Guardsmen were activated from the Utah unit and assigned to a regular Air Force unit in Korea in 1952.Jolley flew with the 335th Fighter Interceptor Squadron, "The Chiefs," of the 4th Fighter Interceptor Group from Kimpo Air Base, South Korea. The squadron flew four kinds of missions in Korea: MiG sweeps, cover flights for bombers, cover flights for photo recon planes, and weather searches.He was shot down over Cho-Do by a MiG-15 on 2 July 1952, managed to eject. He was briefly captured, and subsequently rescued by the crew of an H-5 of the 3rd Air Rescue Service.While flying his F-86E (#51-2769), he downed his first MiG on his 31st birthday, the second on the Fourth of July, the third and fourth on August 7, the fifth on August 8 (becoming the 18th jet ace of the Korean War), and the 6th and 7th later that month. He is credited with having at least 13 probables.

[superherobriefings]

Lash Lightning

pdsh.fandom.com/wiki/Lightning_(Ace)

Creator(s): Jim Mooney

Alias(es): Robert Morgan

1st Issue w/Uniform: Lightning Comics, Vol 2 #2

Year/Month of Publication: 1941/08