#mary the bentley

[fuckyeahgoodomens]

The S1 Bentley is For Sale! 👀

link

from the description :):

Mary is a 1934 Derby Bentley Thrupp & Maberley bodied Coupe. BLE 430 – B 96 BN. Two were made but the other one has not been seen since WW11, so she is unique. She is also the only Bentley in the world to have been blown up twice on screen. She was owned by Speed King Donald Campbell in the early fifties.

I acquired her in 2009, to go with my 1947 Mark VI. Since then the engine has been completely re-built, including a new head and block, with a new clutch put in at the same time. She has also been re-wired, new kingpins, total brake overhaul, new radiator and fuel pump with suspension and one shot lubrication system overhauled. Also had the speedometer and rev.counter serviced in 2018. She runs superbly and has just had her annual service at AB Classics, who specialise in pre-war Bentleys & Rolls Royces. (He also looks after my 1936 25/30 RR ).

She is currently insured for £295,000 and I will be looking for an offer around £265,000.

History

Ordered for Jack Odling in September 1934. One of two 3 ½ lt Coupes made by Thrupp & Maberley. The other one has not been seen for several decades and presumed lost during World War 2. Not much early history but owned by Speed King Donald Campbell in the early 1950’s. We have a photograph of the car at that time being offered for sale, with silver wheel discs. His ownership is acknowledged by all the relevant history available in various publications and agreed with both Bentley Drivers Club & Rolls Royce Enthusiasts Club records. She went through three owners from October 1954 to October 1961. Next piece of history is she was acquired by a Mr Silk of Romford in 1973 and underwent extensive professional restoration up to 1994, with a mechanical overhaul in 1994. She was back on the road in 1998. She was then purchased from P & A Wood by Andrew Smith in August 2001. He kept her until early 2008 when he sold her to Brian Classic as he did not wish to re- wire her. I bought her from Brian Classic in April 2009 with money left to me by my late Mother, Mary. We only just made the 100 miles home with many electrical problems. I am glad to say that Brian Classic eventually made a substantial contribution to the re-wiring by Jeremy Padgett. The following year going into the RREC Concours the heating nearly went into the red so back to Jeremy Padgett to sort out. Result was a complete engine re-build by Ristes, also replaced the radiator core and new clutch plate. Finally back on the road in May 2012. Very expensive period. However, she is now in superb condition, being regularly serviced by AB Classics. More recently the carburettors have been re-built. Following an accident on set in 2017 she was sent to Steve Penny at Penny Vintage to restore the damaged door. Sadly this was one of his last jobs before retiring. What a superb craftsman he is, he made a fabulous job of restoring her. Needless to say she still looks superb. I have owned and enjoyed classic cars since 1969 and Mary must be my ultimate car.

TV & Film work

...

when the call came. Jeremy, I am looking for a 1926 Derby Bentley, preferably black. Can you find me one please. I explained that they were not invented until 1933 and that mine was made in 1934 and is grey and black and has not changed since Endeavour three years earlier. Half an hour later phone goes again, can you bring your car down for production to have a look at in Ealing early next week. Production were delighted with Mary, especially after a bit of a run round Ealing. At this point no-one would tell me what it was all about, apart from the fact that this was “The Big One”. Two days later phone goes again, she is going to be Crowley’s Bentley in “Good Omens” by Terry Pratchett and Neil Gaiman. My wife quickly ordered the book and read it. The Bentley was mentioned almost 80 times. Can I please take her to a specialist body maker for her cab to be replicated for studio scenes. Can I find an interior etc. I phoned Hew at The Real Car Company, who was a tremend ous help. A complete set of instruments and a steering wheel duly arrived. Next, I was asked if I could take the car to Wokingham to be copied. Absolutely staggered to discover they wanted the car at Rushton’s Farm, where I lived from 1957 to 1963. Father’s chicken sheds had been converted into industrial units. A half hour drop off turned into four hours, as I took an old photograph album to show the current owners. The farmhouse had been separated from the rest of the farm by this time. A real trip down memory lane for me. Looking for a Derby body, seats etc, Hew recommended talking to Bob Petersen. He was stripping down a Thrupp & Maberley saloon to make one of his famous specials, so that was purchased complete with dash, seats etc so Mary could be well and truly replicated. Even changed the indicator switch so that both were identical. By this time the cast list had leaked out on the Internet. David Tennant and Michael Sheene are the main stars with others being added on a daily basis. I met many people but mainly worked with these two, especially David. He is one of the nicest guys you could ever wish to meet. Very hardworking but happily chats to everyone. I got Mary back from the farm in September, ready to start filming. The first scene was near Marlow for a two day shoot where I started to meet the cast and crew. 

Trying to teach David how to drive Mary was a bit of a struggle. Most people in their forties haven’t a clue about cars without syncromesh on all gears, and David normally drives an automatic! However, Rob, the stunt driver did know how to drive Mary and quickly picked up the fact that the clutch cannot be depressed for any length of time. The main problem with David and Rob changing over was about six inches in height. Don’t think the seat had been moved so much for years, with a gentle application of oil on the runners and avoidance of catching the carpet. During this period Mary used the registration NIATRUC, Curtain spelt backwards (the subject is the end of the world ). The Morris Minor had SID RAT , TARDIS spelt backwards. David was an earlier Dr Who! Being the grandad on set meant that I was well looked after by everyone, who made sure I had Mary in the right place and usually a radio as well. There is a lot of hanging about on set then a burst of activity. Some shots are repeated over a dozen times to get differing angles and eventually sort out which take will be used. Within a few days I was getting the hang of it, meeting the directors, the camera guys, the sound technicians, moving from location to location, usually in or around the M 25 then in central London. Naturally you can watch Good Omens on BBC iplayer and see how much Mary appeared. There are a few pictures of what it is like on set. 

[scrapheapchallenge]

Mary the Bentley reference photos post 2. POV: You're Crowley. I got you a LOAD of angles so you can see what it's like to sit in the front seat (it's easiest to take them from the back seat), and from various angles from the driver's head position. You can see the sunroof up there better as well now. See post 1 for the rest of the reference photos, I ran out of space to add more to it.

[etherealarte]

Marie-Lou Nurk

[polishmodels]

Julia Kuzniar - editorial for Marie Claire Australia, September 2024

Photographer: Nicole Bentley

source: instagram.com

[maufungi]

The Bentley is a lie

(This is a spoiler zone for Good Omens season 2) Hey guys! I found something strange (and most likely the stupidest meta of all)

I read these amazing posts about the Bentley Ineffable discontinuity and the Bentley's roadtrip transformation and this one by @embracing-the-ineffable and @thesherrinfordfacility

and they got me thinking…

Why the Bentley is a lie:

So while re-watching episode 2, I noticed something strange…

Something immediately caught my eye in the first scene. The blue box in which the "2" (2500 BC) is written. In terms of color grading, I find it very striking.

A second blue box appears with the "L" of "Land of Uz".

The next 2 are in the book of Job that Aziraphale and Crowley are looking at. "T" and an "S" can be found.

In the back of my mind there was still the hint that this episode was called "The Clue". And of course there would have to be hidden clues in this episode. Something story or meta relevant.

So I just googled "2LTS". (Because I am a research professional)

And to my surprise a model of a car appeared, that looked very similar to the Bentley: the Ballot 2LTS.

Maybe there is a Bentley at the start of the season (episodes 1 and 2) but they later switched it to another car? The Ballot 2 LTS.

I don't know anything about cars. So I read a bit about them. To my surprise, a Bentley isn't just a Bentley. It's the chassis that is from the manufacturer Bentley and the body is made by a coachbuilder company. (In this post @scrapheapchallenge explains which body the old Bentley in season 1 had and what happend to it in season 2.)

So my theory is that they changed the Bentley chassis to a Ballot. And put on a 4 door body.

This could explain the changing seat colors and hubcaps.

And why they talk about a Bentley in the first two episodes and later just use the word car.

And why a Queen song is only played once in the Bentley. (Episode 1)

The Bentley was there at the beginning but then it was replaced?

In what way is this relevant for the story? I don't know.

Why are the clues hidden within the Job storyline? I don't know.

Maybe it has to do with multiple timelines (by @noneorother) where the Bentley is and isn't? I don't know.

Maybe the the french word "Ballot" has a deeper meaning? I don't know.

Does any of this make sense? Probably not, but I had fun writing it.

The only thing I know is that the Bentley ought to be the old Bentley, but it seems to be another car.

There are more of those blue squares (did you see the metatron's TIE?!), so I will look further into them, but for so long:

Thanks for coming to my TED talk. I'll let myself out.

[justinspoliticalcorner]

John Russell at LGBTQ Nation:

A bill introduced by Republican lawmakers in Arkansas aims to intimidate anyone who supports or affirms young people’s social transition. Earlier this month, Arkansas state Rep. Mary Bentley (R) introduced H.B. 1668, the “Vulnerable Youth Protection Act,” and Republican state Sen. Alan Clark introduced the Senate version. As the American Civil Liberties Union of Arkansas and local advocacy group Intransitive note, the anti-trans bill does not actually criminalize anything. Arkansas law banning gender-affirming care for minors was already struck down by a federal judge in 2023. Instead, H.B. 1668 “weaponizes civil enforcement by permitting lawsuits against any person who supports trans young people by providing or helping to receive gender-affirming care or by affirming young people in their transition,” according to the ACLU of Arkansas. Minors or their parents can sue for minimum damages of $10,000 and up to $10 million in punitive damages for certain forms of medical care. The bill also allows Arkansas parents to sue people or medical providers outside of the state who help Arkansas youth access gender-affirming care. [...] The bill defines social transitioning as ���any act by which a minor adopts or espouses a gender identity that differs from the minor’s biological sex … including without limitation changes in clothing, pronouns, hairstyle, and name.” As the ACLU of Arkansas notes, if enacted, H.B. 1668 could lead to frivolous lawsuits against “hairdressers who cut a trans teen’s hair, teachers who use a student’s chosen name, and nonprofits that offer support.” Such lawsuits, the organization says, would be unlikely to hold up in court, as the First Amendment guarantees the right to free speech and free expression. However, the law is clearly meant to chill support for trans and gender-nonconforming young people with the threat of costly lawsuits. Describing the bill as “state-mandated bullying,” the ACLU of Arkansas writes that “H.B. 1668 fosters a climate of fear, where doctors, teachers, and even parents risk financial ruin simply for supporting transgender youth. It is a blatant overreach of government power, attempting to control private decisions and to circumvent our constitutional rights, including free speech, religious exercise, due process, and equal protection.”

What a grossly hateful bill HB1668 is: In Arkansas, should this bill pass, gender nonconforming haircuts to minors would be banned under the bill that snitches on those aiding the social transition of a trans minor.

See Also:

The Advocate: GOP proposes bill that would punish supporting trans youth through new names and haircuts

[krispyweiss]

Song Review: Keith Richards - “I’m Waiting for the Man”

If there’s anyone unkempt and druggy enough to convincingly cover “I’m Waiting for the Man,” it’s Keith Richards.

And so it shall be.

The Rolling Stone re-recorded the Velvet Underground & Nico track for the forthcoming various-artists collection The Power of the Heart: A Tribute to Lou Reed. It’s also the lead single.

With a short a capella intro and higher fidelity than the original, Richards nevertheless stays close to Reed and the Velvet’s arrangement while transforming it into the quintessential Keef Riff Hard cut. Not small feat, that, but Richards knows of which he sings on “I’m Waiting for the Man.”

“To me, Lou stood out,” Richards said in a statement. “The real deal! Something important to American music and to all music. I miss him and his dog.”

Arriving on 4/20 - natch - The Power of the Heart includes contributions from a motley array of admirers including Joan Jett & the Blackhearts, Rufus Wainwright, Lucinda Williams, Maxim Ludwig and Angel Olsen, Rickie Lee Jones, Mary Gauthier, Bobby Rush, Automatic, the Afghan Whigs, Rosanne Cash and Brogan Bentley.

Grade card: Keith Richards - “I’m Waiting for the Man” - B+

3/4/24

[doctorstrangereview]

0055: Strange Tales #160

Cover Date: September 1967 On-Sale Date: June 1, 1967

This issue gives us the return of Baron Mordo who has been mostly absent for over a year. The series does maintain some continuity as Mordo is still wearing his strange onesie over his bodysuit costume. Raymond Marais takes over writing duties starting this issue. I don't know who he is, but he seems to have a number of stories credited to him in the Grand Comics Database. Ms. Severin retains the art chores. And, toward the end, we see the return of another character from the very early days.

Doc is the midst of a throng of Mordo's new minions. Their rather dull robes, all identical, are a very good match for the walls of their cavern they occupy. Doc is like "Buzz off minions, I need to talk to the manager!"

Doc informs Mordo that the Ancient One was stoned (ha!) to death and now I've got his goodies. This makes Mordo made and he threatens to obliterate Doc. So nothing new here. Mordo attacks Doc who sweeps him aside with a gesture further enraging Mordo. Doc attempts to explain the whole Living Tribunal situation even showing a neat image of the Sands of Death hourglass ticking away at Stonehenge. Mordo is unconvinced. Mordo tries a few more tricks then says Uncle. But he hasn't given up, but has his minions attack Doc en masse.

The minions attack as they shout their rather uninspired threats. Because they're pretty uncoordinated they don't provide much of a challenge to Doc.

Doc grabs the guy in the turban from last issue is the instigator of all this bother. He carries him away as Mordo attempts to reassert his control of the minion rabble. Meanwhile, in a dark corner of the cave system, Doc strips the turban dude of his newfound powers and sends him back home. The turban dude, apparently, was the nexus of control for the minion rabble.

As Mordo regains control, and we see a mysterious woman complain, Doc makes a dramatic entrance.

Then Doc casts a dramatic spell over the throng of new minions.

Finally, Doc forces Mordo's ghost out of his body.

Doc explains the whole Living Tribunal situation again to Mordo. He reunites Mordo's ghost with his body. Mordo now turns back into a cowering, quaking bumbler who now wants nothing more than to leave the planet before Trib-y wipes it out. Doc responds by freezing Mordo and basically saying "Won't help me? If I die, so do you!" Doc then makes the mistake of removing the evil influence from one of Mordo's new minions and forces it into Mordo. Of course, instead of Doc's intended effect, it makes him stronger. A brief interlude reveals the identity of the mysterious woman. Victoria Bently, whom Doc rescued after being nasty to a cab driver for no reason, has returned!

Mordo agrees to help Doc and together they exorcise the remaining minions. Mordo absorbs all this extra power with the expected response.

The empowered Mordo strikes down Doc.

I think Raymond Marais did a pretty decent job on his first story, continuing a plot started by Roy Thomas. Aside from shoehorning in Victoria Bentley into the mix and revealing her identity in a very awkward manner, the story flows well. Mordo actually appears formidable until his natural cowardice takes over. And once he gains additional power he's all arrogant again. Truly a whatever way the wind blows villain. It's a good setup for what is to come. Victoria's introduction into the story may not have been graceful, but she's got a major role to play in the upcoming months. Now Mordo really needs to loose the onesie.

[scintillulae]

[academy-x]

me trying to remember the guys from austen vs the girls B)

Darcy, Bingley, Evil guy, Priest guy, Wenthworth, Evil guy from S&S, Old guy from S&S, Sad guy from persuasion, Edward

Charlotte, Jane, Elizabeth, Caroline, Lydia, Anne, Eleanor, Marianne, the freak from S&S, the sisters from persuasion, baby debourgh

[scrapheapchallenge]

Mary the Bentley reference images part 1. I already shared a ton a couple of years ago, but I was visiting friends and family again earlier this week, so this time I was taking requests from the good omens reference library discord, art discord, and "in love with my car" discord (where I shared all my previous reference photos of her). So this time I've got some specific request references which I didn't think to get before. Things like driver's seat POV, 90 degrees side-on, back-on, and nose-on, the boot (including tool kit and petrol filler cap in the boot), sunroof from inside and above, and of course the back seat, because I know why you all want that one. Post 2 coming shortly.

[parwatisingari]

Day2 Unfettered Musings At Mango Meadows.

Uncovering Neural Pathways to our Natural Abode Ah, what a jolly contemplation it was, my dear chum, as I engaged in the musings of yesteryear. The onset of the month, you see, bears a resemblance to a miniature commencement of the annual calendar. My esteemed tutor, the sagacious Jan Sky of Brain Potential, laid down a challenge in the inaugural week of January. The query posed was of a most…

[polishmodels]

Julia Kuzniar - editorial for Marie Claire Australia, September 2024

Photographer: Nicole Bentley

source: instagram.com

[kneedecker]

“My car is not (completely) yellow! It has never been (100%) yellow!”

AU where everything is the same except instead of the Bentley, Crowley drives around in one of these

[transrevolutions]

okay hear me out. what if 'trevor herbert' is jonah magnus. what then.

all the tmagp-versions of tma characters we've seen can honestly, in my opinion, be feasible variations of their tma selves. yes, even gerry. he seems very different, but iirc in a qna it was stated that gerry's the sort of person who genuinely does believe in goodness and the like, it just got stamped out of him by growing up with mary and the fears. so in a universe where that wasn't the case, I can totally see him being cheerful and friendly.

trevor, on the other hand, feels fundamentally wrong. especially given his profession. all the tmagp-tma crossover characters (that we've met! I'm not counting the maybe-jon and maybe-martin because we don't even know if they're the same people!) have jobs that align with their tma selves. basira goes from being a cop to being a school administrator- both positions of authority/control. helen is still a swanky tory real estate agent. gerry is an artist, and it's mentioned he painted in tma as well. georgie does a podcast. gertrude has a mysterious past, and it's implied she was connected to the institute at some point.

but trevor goes from being a homeless monster hunter to.... a member of parliment who drives a bentley? there's no connection there. and he doesn't act like tma trevor in any way either! there's no dedication to hunting about him, even in the metaphorical sense. if anything, he "prefers a hands-off approach" as of episode 30. trevor herbert in tma was the polar opposite of that, one of the most 'hands on' characters in the series. but who else has a penchant for watching without interfering until something actually threatens his vision?

would it be too much of a stretch to posit that jonah, weakened from his institute's destruction, ends up posessing the first body he can get his hands on, steering this new alter ego towards a government position of authority, then to monitoring the OIAR, so similar yet so different from the institute he failed to preserve? what if, when he says gwendolyn bouchard has "quality", he's not just talking about her heritage? what if he's starting to look for his next mark?

anyways, I found an interesting little detail while rereading some transcripts. in the magnus protocol, the first mention of both (presumably) jonah magnus and trevor herbert, MP is in episode 27: driven. before that, they were not named, and trevor was referred to just as "the minister".

now that's a fun little coincidence as it is, but if we return to tma, we notice that trevor's first statement is in episode 10: vampire killer. and elias/jonah's first actual appearance (outside of jon referencing that he's his boss) is in episode 17: the boneturner's tale. 10 + 17 = 27.

WHICH COULD MEAN NOTHING!!!!!!!!!!!!!!!!!

[justinspoliticalcorner]

Mira Lazine at Erin In The Morning:

On March 4, Arkansas lawmakers introduced HB1668, the Vulnerable Youth Protection Act, a sweeping bill that would criminalize support for the social transition of transgender youth. The bill allows parents to sue anyone who affirms a child’s gender identity, defining social transition broadly as “any act by which a minor adopts or espouses a gender identity that differs from the minor’s biological sex… including without limitation changes in clothing, pronouns, hairstyle, and name.” It also serves as a total ban on youth gender-affirming care, prohibiting both surgeries and hormone therapy for transgender minors. But the bill goes even further: it asserts extraterritorial jurisdiction, meaning lawsuits could be brought against people outside of Arkansas if they are deemed to have helped a transgender child transition. The penalties are staggering—minimum damages of $10,000 per defendant, with punitive damages reaching up to $10 million for those involved in medical care. Social transition is a critical way for transgender youth to affirm their identities. It typically involves changes in name, pronouns, clothing, and hairstyle—steps that help young people feel more comfortable in their own skin. Notably, even by the bill’s own definition, social transition does not involve any medical interventions. Yet HB1668 seeks to criminalize it, despite clear protections under the First Amendment, which guarantees the right to freedom of speech and expression. According to the American Civil Liberties Union of Arkansas, the bill “is a blatant overreach of government power, attempting to control private decisions and to circumvent our constitutional rights, including free speech, religious exercise, due process, and equal protection.” The ACLU also notes that any legal cases brought under this bill would be “extremely unlikely to hold up in court,” calling the suits frivolous and warning that they could target anyone—from cashiers to teachers to hairdressers. “The bill’s intent is to scare people into silence and deter them from providing respect, dignity, and care to LGBTQ youth,” they add. While the bill includes a grandfather clause, it applies only to transgender youth who began transitioning before June 1, 2025, and who have completed at least 12 therapy sessions over a six-month period. Anticipating legal challenges, the bill’s authors claim it does not violate the First Amendment, despite its clear restrictions on speech and expression. Even more brazenly, the bill asserts that if a lower court strikes it down, any higher court ruling in its favor will retroactively nullify that decision—allowing enforcement even during periods when the law is deemed unconstitutional. Such a provision has no legal standing and directly contradicts long-established judicial precedent, an overreach no unbiased court would uphold.

The bill’s authors extend its retroactive provisions to any federal statute that contradicts it, likely in anticipation of further actions by the Trump administration to restrict transgender youth from transitioning. Trump’s executive order on education already lays the groundwork for such efforts, falsely accusing those who support social transition of “practicing medicine without a license.” While this claim has no basis in fact, it underscores how his administration intends to approach transgender rights—as a target for political gain. 

Arkansas HB1668 is repugnant nonsense, as it would make “contributing to someone socially transitioning” trans youth illegal. Not only that, this bill reeks of government overreach.