#just theatre kid things

[pommedepersephone]

Buck up, Hamlet! or how Aziraphale and Crowley's blocking helps communicate the evolution of their relationship

Can we talk about the blocking?

Specifically, I have been rewatching S1E3, one of my favorites. I love how the development of the relationship between Aziraphale and Crowley is shown through these little vignettes. There have been some great explorations of the costuming and dialogue, but what always strikes me is the BLOCKING. The way their placement and movements add such depth and tell the story of living as a queer person, having to communicate in coded language.

Through the episode, we get 4500 years of history - Eden, Mesopotamia, Golgatha, Rome and Wessex - to see Aziraphale and Crowley standing on their opposite sides. Aziraphale always on the right, Crowley always on the left. But after the Arrangement, their blocking changes drastically and becomes much more fluid and nuanced. Each scene after this is distinct but the scenes in at the Globe and the Bastille have the most development, and I find myself rewatching them A LOT. Here is what I see. 

All the World's a Stage

This is the first meeting we see that isn’t a chance encounter, though the two try to stage it as such. It takes place in a theatre - and they are acting, playing their roles as demon and angel. Even the humans are complicit in this performance, with Shakespeare stepping in to address the two "in your roles as the audience." Oh, delicious.

But once it's been firmly established for anyone watching that they AREN'T friends, they DON'T know each other (cough cough) the following moves are clearly choreographed and have been played out many times before. Crowley sashays to the right, opening the dance, and Aziraphale accepts the invitation to dance with: “What do you want?” 

“Why ever would you insinuate that I might possibly want something?” Crowley is just playing his role as cheeky demon offering up a temptation - but his position to the right of Aziraphale speaks to the fact that they are both very complicit in this performance.

“You are up to no good.”  “Obviously. And you are up to good, I take it? Lots of good deeds?” Just standard character establishment, here.

“No rest for the, well, good." Ah, this line, the inversion of the well known idiom. Because the line between good and evil (and between angel and demon) maybe aren't so distinct, and Aziraphale acknowledges this with his words. We are moving into negotiations now. "I have to be in Edinburgh at the end of the week. A couple of blessings to do, and a minor miracle to perform. Apparently, I have to ride a horse.”

“Ah hard on the buttocks, horses. Major design flaw, if you ask me. I’m meant to be headed to Edinburgh too this week. Tempting a clan leader to steal some cattle.” The way Crowley moves AROUND Aziraphale here, intimate but also careful, watching for his reactions.

“Doesn’t sound like hard work.” Said with a little sideways look, because Aziraphale can see where this is going. And he's open to suggestion temptation.

“That was why I thought we should… well, bit of a waste of effort. Both of us going all the way to Scotland.”

“You cannot actually be suggesting what I infer you are implying?” A little bit of pretense, because Aziraphale has to pretend to be tempted, right?

Crowley presses. “Which is?” Because he is willing to play the part of tempting demon, but only if it is clear this is a farce, that this is indeed mutually agreeable. He is making sure they are doing the same dance.

"That one of us goes to Edinburgh and does... both. The blessing and the tempting."

Yes, they are doing the same dance, and what is left is the formality of concluding the dance - a moment of Aziraphale expressing his concern for Crowley, the coin toss - they both know how it ends. It's a ritual, an act of give and take.

But if it were ONLY the Arrangement, a simple quid pro quo, it would have ended there. It doesn't. Instead, the two offer each other a more intimate exchange - "It'd take a miracle to get people to come and see Hamlet."

Aziraphale doesn't even have to ask with words, just a look, and Crowley happily agrees. That is the final part of the dance, a small acknowledgement that this isn't just about making their jobs easier.

A Free Man in Paris

Paris is something else. This is a HUGE step beyond making sure that audiences like a show your angel is particularly fond of. This is a stolen dangerous moment, an OUTRAGEOUS flirtation that takes place outside of time, conducted in clear view of others but beyond their understanding. Isn’t that how their entire relationship is now conducted, hidden in plain view and so clearly affectionate? 

And look, Aziraphale is BITCHY in this scene. Peak That Bitch. He's just purchased a bookshop, he's creating a very permanent place for himself here on earth - Aziraphale is feeling quite proud of himself. In fact, he's preening a bit that he has figured out how to exist, even in some small limited way, as himself within the confines of the system of Heaven. Buuuut he may have gone just a bit too far, and gotten himself in a spot of trouble. He has landed in a prison, threatened with "death" and stuck because he's already gotten a warning about being frivolous with his miracles. Oh jolly good that Crowley is here to save the day!

There is something raw being communicated here here, where both Aziraphale and Crowley are presenting themselves to the world in ways that are dangerous. Aziraphale's reaction tells us that Crowley's look is doing things to him, but also in a way that it is NOT socially appropriate. Aziraphale may have showed up in all the trappings of an English aristocrat, but here is Crowley as a French royal sympathizer. NEITHER of these are safe choices in the middle of a revolution. The costuming is so critical to fully appreciating this scene, so check out the amazing clothing overview with @cobragardens.

When Crowley arrives and stops time, he and Aziraphale find themselves situated facing one another, but angled so they aren’t facing straight on. Interestingly, from Crowley’s perspective, he is where he is supposed to be - the left of Aziraphale. But Aziraphale, from his perspective, is also to the left of Crowley. It was Aziraphale after all who initiated this situation, who put himself in danger by being too… Aziraphale. It’s dangerous to be yourself when you don’t fit into heteronormative social expectations, isn’t it? Still, the two keep up a very flirtatious banter as they discuss the situation, and Crowley maintains his very-intentionally-unbothered sitting position up until Aziraphale goes too far and thanks him for coming to his rescue.

While Crowley is also flirting with danger in the way he is dressed, he also didn't just pop over for a nibble dressed this way. And whatever he might have been up to was interrupted so he could rescue Aziraphale from the consequences of his own reckless authenticity. After removing the chains, Crowley pushes Aziraphale to reconsider his honest expression of himself in this exact place and time - for the sake of survival.

Aziraphale, willing to risk himself alone, rather quickly adopts a more acceptable appearance when it might impact Crowley. It is only after Aziraphale is safely disguised and returned to his proper place to the right of Crowley, ONLY then does Crowley restart time. They can go enjoy lunch now, with the proper precautions and masks in place.

For these two particular human-coded occult beings, this is also such an honest moment. They both showed up damn authentically - Aziraphale so fabulously ostentatious, focused on chasing down some pleasure (in this crepes) and Crowley wrapped in a clear protest against the current violence. Just as Aziraphale indicated with his "Oh good LORD" as he looked the demon up and down with obvious thirst, Crowley's request to Aziraphale to change his appearance and mask better is done in such a way that affirms that Crowley LIKES who Aziraphale is without the mask.

The scene is so playful on the surface, the body language and dialogue flirtatious. It's something so familiar to the queer experience, making light of the absolute danger that we must sometimes navigate just to exist. The more I watch it, the more obsessed I become.

A Spot of Bodysnatchin'

It is worth remembering that we didn't get this scene in S1.

I am going to go through it soon, because again they dance back and forth beautifully in this minisode, but suffice to say we all know... it didn't end well for Crowley.

No Walk in the Park

The moment in St. James Park is brief, and it wasn't until S2 and the meeting at Edinburgh that we got the full context for this meeting. But even without this, we can clearly see that things are weighing heavily on Crowley. The scene in the Bastille took place in a prison, with the threat of execution over their heads. The juxtaposition of this conversation taking place in a park - a place that is not only NOT inherently dangerous but looks lovely and welcoming - only highlights the change in Crowley's attitude. He still attempts to be playful, but he's afraid. Look at that paper, it's a bit crumpled, he's been carrying it around for a while.

They are firmly entrenched on their assigned sides for the entire conversation, both very stiff. It feels uncomfortable to watch. When Aziraphale refuses his request, and indicates whatever is between them is just "fraternizing" with the enemy, we get a glimpse of how fearful Crowley really is. In none of these flashbacks has Crowley ever spoken to Aziraphale with the anger we see here. When they part in anger, it feels wrong.

Take Me to Church

So there is a long break between meetings now. But then, ah, the church. The place Aziraphale realizes his feelings. (Look, if Michael says this is where Aziraphale realized he'd fallen in love, I am not here to argue.) What I love is that again we see Crowley and Aziraphale swapping sides. Crowley is here to save his wayward angel, AGAIN. Despite feeling the ill effects of walking on consecrated ground, Crowley is here to save his angel and defeat Nazis. It's definitely not remotely evil intentions.

It isn't like the Bastille, but some of the parallels exist - Aziraphale failing to grasp the risks of his actions. And the silliness of his little dance coupled with just how deadly serious this situation is harks back to their flirtations in the prison.

Crowley is to the right of Aziraphale from the time he arrives until the bomb drops. Then in the rubble, with the danger past, we see them on their assigned sides again. UNTIL Crowley hands Aziraphale the books he saved with a "little demonic miracle of my own." He then crosses Aziraphale, and we see the look of absolute adoration as the angel watches him walk away to the right.

Sweeeeeet baby Jesus, baby girl has it BAD.

Always Crashing in the Same Car

This extremely heartbreaking scene has been dissected, chewed over, breaking our little hearts with it's sharp pieces.

But it is purposeful that this scene took place in the Bentley. Being in the car is symbolic because Aziraphale is here making an offering to Crowley, in his space, something that he Aziraphale feels is WRONG which is highlighted by his placement to the left of Crowley. He is scared, acting against all his own desires, but he does it anyway because he cares for Crowley. It's simple, powerful placement. Need to hurt more? Yeah, thought so. Take a deeper look at the dialogue with @zionworkzs.

[pikapig183]

If you would have told me 2 years ago when I started to pursue my formal education that I would be doing the entire hot to go dance in an advanced acting class with my 73 yr old professor I would have LAUGHED in your face.

[pommedepersephone]

I have a good friend who didn't get into S2 at first. They just couldn't grasp the vibe. The thing is, we met doing theatre and choir together in high school and both have a deep love of performing arts. I sat down and talked to him about my obsession with the blocking and music in both seasons, and specifically the way S2 referenced back to films that were done at a time when movies were much closer to live theatre productions in their look and feel. How there was something very staged (in a good, theatrical way) about this season. And after that talk, he went back and started the season over and LOVED it.

The thing is that Good Omens is ART. It is rich and layered and complex and meant to be shifted through, and that isn't something that the people running our media companies value or encourage in an audience. This show is an act of love, a gift, and I appreciate a fandom that is so invested in exploring and enjoying it.

The secret timeline inside of Good Omens season 2 revealed, *part1*

If you’ve ever watched a ballet or an opera, you know how the rhythm in the music is used throughout to determine not only the movements of the dancers, but also when lines are sung or spoken. This is almost unheard of in television, but what if I told you it was hidden in season 2 of Good Omens? If one were to, say, meticulously cut together only the scenes set in the present day into one big timeline, you would get one long video that is exactly 2 hours 22 minutes 00 seconds and 00 frames long. An ineffable cut that is so perfect it defies all logic. (I’ve burnt a timecode into this ineffable edit to help pick up the rhythm.)

Even though there are large swathes of the second season with no music, there is a constant tempo weaving its way through the show: What if the seconds ticking by in the runtime itself was the music? Here’s an example of what I found. Behold a supercut of every single time Shax shows up, or Hell is mentioned in series 2 in the ineffable edit. They always arrive on a 6 in the time stamp (ex: 00:XX:X6).

(SOUND ON is an absolute must here, otherwise you won't hear any of the triggers)

Shax rings Crowley on a XX:X6. Shax miracles herself into the car on a XX:X6. Shax knocks on windows on a XX:X6. Shax’s big scary moment at the bookshop happens at 66 minutes exactly (lol). Crowley calls out for Shax on a XX:X6. Beelzebub starts spewing flies on a 6. People mention hell and it’s always on XX:X6 etc. etc…(Bonus: I also left in Maggie flipping the damned the double-bird on a XX:X6) I’ve also left in the only appearance of Shax or hell at all in the whole series that isn’t tied to a six: the park bench scene with Crowley. Shax seems to be off by one line, showing up on a XX:10, then back to XX:X6 on her second reply: “Bills, mostly”. I can only theorise that this scene, while technically in season 2, is not supposed to *be* in season 2 (even just judging by the trees, sun and the overcoats, it’s not summer like in the rest of the season). And it’s not only sixes! Every time I go through I find more and more little beats that line up exactly with ineffable timings. I can only do one video per post, so I’ll have to cut it up into sections, but Gabriel, doors, car horns, bird calls, Aziraphale, food, drinks, Angels, dialogue, Maggie, Nina, jokes, clocks, bells… The list goes on and on. 

Neil called this season “The bridge”

Because we all know how much Neil loves double meanings and wordplay, I just have to ponder the idea that when Neil said this season was “the bridge” between seasons 1 and 3, he meant it double-literally. First, as in the bridge Aziraphale and Crowley have to cross in order to get them into position for the second coming. We even see the physical manifestation of this bridge leading everyone in the background of the opening credits. But this season is also a bridge in the sense that it’s a musical section that introduces new ideas or material in the middle of a song. This whole season is the music that deviates from the familiar, and re-contextualizes the chorus and the verses so we can appreciate them in a new way. 

Let’s not forget that 2:22 is also exactly the same timing as this (and only this) track from the good omens s2 album (read all about the soundtrack here):

Why is this so bonkers? I think GOS2 might be the first ever “Total” series of television.

Having everything in the series timed and choreographed would actually make it a very faithful adaptation of the Powell & Pressburger film The Tales of Hoffmann (read about the movie and it’s effect on all of s2 here). If you watch the tales of Hoffman, you will realize that the entire film is actually done more like animation, with the music and vocals all performed in a studio, mixed and edited first, and then the actors came back to act out their choreographed and lip-synched parts for the cameras afterwards. The result is "Total film": a movie that feels more like a ballet, with every movement, action, and line happening in time with the music. As far as I can tell, very few films have ever attempted this, with The Tales of Hoffmann and Playtime being the only two “complete” films I could find in this style. (The Red shoes has one section, and An American In Paris has a few)

“Why would ambitious filmmakers simply film an opera? Many admirers of the work of Michael Powell and Emeric Pressburger have assumed that their decision to make The Tales of Hoffmann (…) was in some way an admission(…) that they couldn’t go on making their edgy, over-the-top melodramas after the rejection and interference they’d suffered, (but) there’s a case for considering The Tales of Hoffmann as one of the finest and boldest works that Powell and Pressburger produced, so far ahead of its time as a wholly “composed” film... Late in his life, Powell himself said that he thought it was one of the best films that he and Pressburger had made.” - Criterion review, Tales of Hoffmann

Here’s a simple example from An American in Paris

If season 2 *is* scripted and choreographed to line up with specific timings, I’m pretty sure that would make this the first ever “total” or “composed” season of television ever attempted. Not only does this take an ASTOUNDING amount of planning, scripting and editing finesse, not to mention a completely controlled set, it takes a real understanding of how to perform as an actor using rhythm and metre, which would go a long way to explain why all of the main actors coming back for season 2, with the exception of John Hamm, are well regarded theatre performers, (especially of Shakespeare).

I’ll leave you with one last surprise I found in the discovery of the ineffable edit: remember Aziraphale’s smile at the very end if the credits? It happens on 02:23:03, as the first step off the bridge, and into season 3.

I will have much more in the next ineffable timeline post. Stay tuned…

__________________________________________

Thanks for reading all the way to the end. It’s taken me a solid month to get this perfect. There are so many hidden cuts and jumps to take into account, and I had a frame rate issue that kept exporting to 29fps instead of 25fps, but I’ve finally nailed the ineffable timeline enough that I am confident sharing in it.

Credits to @thebluestgreen and @embracing-the-ineffable for all the support and help with editing and just general good vibes. 

[inkskinned]

actually sometimes being neurodivergent is great bc you have a particular kind of Silly Mode that just . manifests glory. harmless fun is my precious side quest & i have a high score in whimsy. like okay if i gotta be the first dork in the dance pit it's gonna be me and this random toddler and we're gonna avril-style rock ouuuuttt

[laurenluvss]

not to be that type of person but i already called dibs on him ages ago so... 😒 xx

[leisplayhouse]

okay. hear me out.

jeremy jordan

[lamentable-comedy]

(onion headline voice) Guy Who Memorized BDG's Perfect Pokerap Always Ready to Steer Conversation Toward Being Asked to Perform it

[fairmerthefarmer]

Hadestown poster concept!!

I comPLETELY forgot about this, I think I made it for fun maybe right around graduating college, or sometime teetering on my college/PMDD/endo/newfound chronic pain burnout. (I think I discovered hadestown sometime in my second or third year and I’ve adored it since, might be my top musical. Definitely top 5)

It’s kind of oldish now but I think it’s still pretty good! I’ve gotta do more stuff like this!

[gremlinoverlord]

I feel like I'm starting to relate to this man a bit to much

[pommedepersephone]

Waiting for Godot was an AMAZING experience - and my boychild's first Big Theatre Show. Lucian Msamati, Tom Edden, and Jonathan Slinger all stopped to talk with my son, and he was very excited.

But nothing topped him getting to talk to Ben Whishaw.

@l219tj we are SO GRATEFUL.

[haydendemonlizard]

Bai He 💙💕

[xotrashratxo]

can the marauders girlies stop being depressed for one second it’s literally intermission (half joke)

[marquisecubey]

I have a new dnd character and I’ve been drawing her so much for the past week uuuuuuhhhhhh anyway here’s sister Frenelle I named her after a type of light fixture

(Congratulations! You have clicked on the Read More and you have unlocked her long ass backstory. Enjoy this thing I sent to my dm, which I can only assume that she must have liked because she gave me a free legendary magic item lmfao. Don’t worry if you’re not up to snuff on Eberron specific lore, I catch you up on the important bits.)

The secret child of an elven nobleman and a human scholar, Frenelle Albright was born in the isolated island nation of Aerenal.

Aerenal was not a kind place to anyone who was not a full-blooded elf, and with very few flesh and blood friends to talk to, her mother's wide collection of books became her dearest companions. From an early age, the doctor saw great intelligence and curiosity in her daughter; the tomes she pulled from her mother’s shelves were leagues above her expected reading level, and by the age of eight, she could even hold entire conversations about complex historical topics.

Humans cannot wander freely across Aerenal with no reason, but it was a vital place when it came to Dr. Albright’s research. The goal of the books she was writing was to help the rest of the world gain a greater understanding of Aereni society, and to hopefully encourage them be less afraid of their open practice of necromancy. But sadly, while it was a fantastic place for a researcher, there were also very few opportunities for her bright young daughter to truly flourish and learn at her own pace. So one day, she had a difficult conversation with her daughter: For the next several years, she would stay on the island, while Frenelle would be moving across the sea to attend a boarding school in Fairhaven on her father’s coin.

Frenelle was terrified at first of being alone. She was already a terribly shy girl by nature, and the new city and climate were overwhelming. For the first month, she hardly spoke to anyone at all, not even to her teachers. However, over the next few months as she properly settled into Fairhaven, she was taken aback by how welcoming the new environment was, especially compared to the coldness of her hometown. People actually wanted to talk to her, and they remembered her name. She had peers that she could talk to about all of the math and magic and history that were bottled up for so long, and when she excelled at a topic, she was rewarded instead of scolded.

The most exciting thing about the academy was that she wasn't even the only half-elf there. Or rather, Khoravar as they called themselves, and as they called her too. The main group of khoravar who took her under their wing were a group of rambunctious kids from House Lyrandar, and it was here that she met her best friend, a boy named Leeko.

Leeko was outgoing, kind, and a bit of a hothead, but he was also passionate and smart in the same way she was. He loved all of the flying machines and massive airships that his family was building, and he talked intensely about how excited he was to pilot them one day, proudly showing off the Dragonmark of the Storm on his right hand. Despite them seeming like total opposites at a glance, the two couldn't have been closer. Every time they met up to try and study for classes, they'd end up talking for hours on end about everything from old magic to new technology. For the first time in her life, Frenelle wasn't alone.

Each year, she would return home to her mother for a couple of weeks, but as she continued to thrive in Fairview, she began to notice that the doctor was growing more isolated and depressed each year back on the island of the dead. Eventually, she was able to convince her mother to leave behind her studies, coming home with her daughter, never to return.

Frenelle quickly rose to become one of the top students in her class, graduating from her boarding school with honours and moving on to study divination magic and history at the University of Wynarn. By then, Leeko had left for the island of Stormhome to train as a pilot, but the two continued to write long, cascading letters to one another every single week.

Her unconventional background gave her a unique perspective when it came to her studies at Wynarn. This was all well and good, until it led to her constantly interrupting professors during lectures to question their biases. This was especially true when it came to the taboo field of necromancy, which she had grown up seeing as a very normal thing in her culture. Eventually, however, she quickly grew wise to the fact that if she wanted to succeed as an academic, she would need to suck up to her less worldly professors every now and again. After all, if she wanted to make her point of view known, she should attempt to hear them out as well.

While working on one of her Master's degrees, Frenelle's work ethic and passion managed to attract the attention of a temple of Aureon in Arcanix, where she was offered a position as a novice. She was hesitant to quit her studies at first, but at the urging of Leeko, who just had gotten a job as an air shuttle pilot at the floating towers, she dropped everything and accepted the massive opportunity.

In fact, the chance to see Leeko again may have been her biggest reason for moving to Arcanix, because it turns out, she had started to develop romantic feelings for him. And, as she would later come to find, he felt the exact same way. She would even learn that he had planned on marrying her, which was no small deal of course. After all, Leeko wasn’t simply just her best friend, he was an heir to House Lyrandar, the Half-Elven dynasty who controlled the rapidly growing industry of air travel across the civilized world, using the Dragonmark of the Storm that ran in their blood.

A proper, pure Dragonmark gives a person tremendous power. Most importantly to those in the twelve Dragonmarked houses, it is a predictable power. However, the same cannot be said of the unpredictable power that results when people from two different houses produce a child. Unpredictability is volatility, and volatility is danger. For the sake and the preservation of society, all marriages and sexual relations between those with different Dragonmarks are strictly prohibited.

Frenelle didn't actually notice her mark for the first few days. She had figured it was some benign skin condition, a small rash around her eye. When it didn't go away, she went to see one of the healers at the temple, who laughed when she said she had no idea what it was. When he realized she was being serious, he explained that she was a foundling, a Dragonmarked person with no previous ties to a house.

He explained that her Dragonmark of Detection was an incredible thing.

With the power of her newly manifested mark, Frenelle became an obvious standout among the rest of the clergy in ways she hadn't even thought were possible. She could look into people's thoughts, see entirely new creatures from beyond the material world. She could protect people from danger.

The royal family of Aundair was in search of a governess for their children, but not just any regular teacher would do. They needed a cleric, a person who could embody the very will of Aureon, the god of magic, knowledge, and the law itself. Their job wouldn't be just to teach, but to physically protect the future of the kingdom. And, who in the world could possibly be better for that than the gifted foundling who just landed on the steps of Arcanix?

Frenelle walked past the cockpit as she boarded the air shuttle. The pilot smiled as he called her name and waved with a childlike excitement. She lowered her head. Words that he’d never get to speak reverberated through her skull. She felt his heart sink like a rock through her own chest. He wanted to marry her.

Vows of celibacy aren't necessarily a requirement for becoming a cleric. However, many choose to take them on in an effort to avoid mortal matters clouding their judgment. It's not as though she had much of a choice in the matter. After all, when the queen who funded your schools and the god who bestowed you these powers give you a call to action, to uphold and protect the law, you listen.

So, as a cleric with a high stakes mission, Frenelle simply chose to take that mission very seriously. And you see, it's actually fine. She's fine. They're fine. It’s fine. He’s fine. They’re fine. They're all fine. She's fine. It’s fine.

[starscreamingg]

Honestly transformers one deserves a medal for being the first transformers. Thing. In like five years to make me actually like and want to see bumblebee

[chiscribbs]

Saw your clone Donnie au and I thought of dramatic Donnie a bit and realized that he probably would act a lot like how Leo does when he’s being dramatic.

Leo claims it’s a twin thing

It's definitely a twin thing. Look at these ridiculous dorks.

They're cut from the same cloth. The co-kings of Drama Town, each even comes with their own spotlight, lol. Donnie's just a bit more theatrical with his dramatization than Leo is, saying things like "alas" and quotin' straight Shakespeare sometimes.

Dramatic Donnie probably acts like he's performing at the Globe 24/7.

[abstractpenny]

theater is literally pulling 60 hour unpaid work weeks just cuz.