#lonicera-caprifolium

[breeanimation]

sad boy with tits out 😢🌰🌰

please click for hq

[khi-one]

[thebotanicalarcade]

n341_w1150 by Biodiversity Heritage Library Via Flickr: Flowers of the field London,Society for Promoting Christian Knowledge,1911. biodiversitylibrary.org/page/12509515

[crococriles]

An angel investigating a strange noise from an ark supply room... By @lonicera-caprifolium 🖤🖤🖤

[cliopadra]

Just 2 days left till we find out how our ineffable duo will deal with the appearance of Gab- I mean✨Jim!✨in their lives!

Yesterday’s countdown piece was by the amazing @lonicera-caprifolium and tomorrow, don’t miss the continuation by the fantastic @lilpy !

[tweedfeather]

Four for tea, and FOUR MORE DAYS until Good Omens season 2!! 🥂🥂🍾

@goosetooths posted their countdown art yesterday — @lonicera-caprifolium will be sharing theirs tomorrow!!

[embracing-the-ineffable]

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

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

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

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

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

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

And the s2 interior?

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

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

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

THE BACK DOOR THAT WAS NEVER THERE

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

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

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

Some background and context:

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

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

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

Here's the episode/scene breakdown:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[aceomenszine]

A sneak peek from @lonicera-caprifolium ‘s piece for Ace Omens 2!

Pre-orders are open for our asexuality-themed Good Omens zine! We’re fundraising for the Palestine Children’s Relief Fund.

▶️ https://aceomens.bigcartel.com/

[grey-and-green]

The clock:

Ok so I know there are a lot of posts about time continuity and the clock in The Final Fifteen (and tbh I haven’t read all of them so this might not be a New Thought but)

(Screenshot of a post by @lonicera-caprifolium that shows the time difference)

MY theory isn’t that they stopped time.

MY theory is that we, the viewers, are missing time.

After Crowley leaves, Michael Sheen Aziraphale touches his lips and then we, the audience, see the Metatron come in immediately in show-time.

But the way Michael Sheen Aziraphale turns around and looks when he hears the door open - I think he was expecting it to be Crowley coming back in. He turns around almost expectantly, and he doesn’t try to hide his tears until he realises who has actually come in to the shop. I feel like the way he looks back, he fully wasn’t expecting it to be the Metatron, and you can see his face fall and him steeling himself when he realises it’s not Crowley.

I think that the missing 15-20 minutes are actually time Aziraphale spent alone before the Metatron came back in, that the cut isn’t actually instantaneous as we’re shown, but actually time Aziraphale spent spiralling and thinking (and planning?).

I’ve seen posts about how Crowley always comes back after a fight, so Aziraphale thought he would come back now too, but it doesn’t actually make sense for Aziraphale to expect him to come back 30 seconds after he left. But 15 minutes later? Maybe.

I’m not sure what my point is exactly, except that this fits in with all the “what aren’t they showing the audience” theories out there and fucking Neil Gaiman better give us back these missing pieces in S3.

[lineffability]

sappy little end of year post to celebrate my own personal lovingly curated corner of fandom that I've been enjoying immensely this year, full of correct opinions, good takes and little drama 😌😌✨

three special shout-outs to very lovely people:

@crowleyholmes chii you're such a ray of sunshine and your lovely tags and enthusiasm were just too fucking contagious, even before I was following you I kept thinking 'how can someone be THIS nice' but then you started talking to me and you ARE, aren't you 💛😌 glad to know you, you're a delight and, dare I say it, a friend

@chernozemm what can I say - I adore you, zemmie, ever since we started talking it feels we've barely stopped, I love bouncing ideas and headcanons and fics and just anything, really, off you, and you definitely know things, and me <3 just genuinely enjoy your vibe a lot, you gorgeous person

@queerfables you were the first person I started talking to in 2023 GO fandom I think, and we've exchanged auch lovely opinions and GO book memories, I love your fandom-familiarity and metas and you-ness ✨

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also just wanted to shout out some people I've simply enjoyed seeing on my dash, following, writing, reading, arting, metaing, talking, commenting, prev-tagging etc etc, you make this fun <3

@opscuritas @plumbum-art @fellshish @foolishlovers @nice-and-accurate-ramblings @fagziraphale @wraithee @ashfae @voluptatiscausa @gaslightgallows @copperplatebeech @sabotage-on-mercury @ineffabildaddy @crawley-fell @crvwly @gingiekittycat @nightingalecottage @azfellandco @goodoldfashionednightingale @wearecrowley @halemerry @books-and-omens @ineffableteeth @luminousslime @lonicera-caprifolium @mrghostrat @grntaire @snek-eyes @fremulon @focusfixated @aduckwithears

[breeanimation]

😢 🌰🌰 redux (reposting bc i fixed the colors :) )

[thebotanicalarcade]

n263_w1150 by Biodiversity Heritage Library Via Flickr: Flore médicale / Paris :Imprimerie de C.L.F. Panckoucke,1828-1832. biodiversitylibrary.org/page/9313028

[crococriles]

A better ending to season 2, beautifully created by @lonicera-caprifolium 🥺

Loved the end shot of Ed and Stede, but thought it could be improved by not killing my babygirl and including him 🖤

[mirach]

About Job and coffee (GO2 spoilers)

This is a synthesis of several theories I've seen and some of my own. There are several hints throughout s2 about what is important:

- Gabriel arranges the books by the first letter of their content. The playlists released by Amazon have messages in the first letters of the songs. First letters are important.

- As @cassieoh pointed out, the coffee is, specifically, Oat Milk Latte with Almond Syrup. OMLAS

- Omelas is a city in a story by Ursula Le Guin where everyone is happy and comfortable for the price of one child being kept in misery.

- The story about Job reflects this. Job is good. Job is God's favourite. He loses everything (but not what matters most, thanks to A&C's deception).

- There may be a parallel between Aziraphale and Job. Aziraphale also loses everything at the end of s2. Earth, his bookshop, Crowley.

- We don't see the full conversation with Metatron. Others already pointed out his manipulation techniques and that the coffee might be poisoned. I don't think it is poisoned, but I think the other option offered was in the name of the coffee shop. So predictable that nobody picks death, right?

- (I already made a post about this but I'll mention it again) the Book of Life was mentioned several times, but never used. I think that was the other option: Aziraphale and/or Crowley would be erased as if they never existed. Apocalypse 1.0 would happen (and one of them would be lonely for 6000 years)

- Erasing things from existence is important, too. We saw Nina erasing the Eccles cakes from the board, and they're never seen again where Aziraphale put them in the bookshop (noticed by @ariaste)

- Writing is also important. We see Aziraphale writing a script for what people will say at the ball and we see them saying it against their will. Metatron could do that, too. We can’t be sure about anyone saying anything here... (again @ariaste has a deeper theory about this)

- So what does it mean? Is Aziraphale recruited for the position of the child in Omelas? Is he being tried like Job? Did Metatron erase God since we don't hear God's narration anymore? Did Aziraphale and Crowley talk in a timestop and swapped places as @lonicera-caprifolium suggested? I guess we need to Wait and See. But the plot is much deeper than it looks on the surface.

[goaroweek]

@lonicera-caprifolium

It is literally impossible for me to decide of a favourite art among the insane amount of masterpiece Lonicera keeps gifting us. I can only share some and strongly recommend you go check their account!

[mossyomens]

WIP wednesday yet again!!!

this one is from a new fic im working on titled "masterpiece", inspired by some lovely art by @lonicera-caprifolium over on patreon

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“My point is-” The model cut off with a frustrated noise as Anathema repositioned them for the fourth time, leaving as quickly as she’d appeared when she was satisfied. “My point is, maybe we should get to know each other. It might make this a little more fun.”

Aziraphale’s gaze narrowed, and an indignant huff should have told the other model all they needed to know.

“Fun? Really? I don’t think modeling nude for art students is supposed to be fun.” The words were met with a derisive snort.

“I think most things are, really. Otherwise you’re doing it wrong. Name’s Crowley, by the way. Anthony Crowley.” Aziraphale rolled his eyes at the delivery.

“Do you think you’re some kind of MI6 agent?” The model- Crowley- grinned, though Aziraphale didn’t see it.

“You’ve only just met me, I could actually be an MI6 agent. You could even be one!” Crowley laughed at the prospect. “Just as likely as anything else.”

“For your information, I am not an MI6 agent. I’m an archivist, I specialize in rare books.” Some part of Aziraphale hoped that would be boring enough to stave off the torrent of questions. The other was praying in a way he hadn't done in years to a god he wasn't sure he believed in that Crowley would keep talking.

“An archivist? How did you end up here then?”