#with no explanation or details

[zan0tix]

ALPHA KIDS: Draw your best friends!

DIRK: I'd say I'm better at one on one character interaction work of the more intimate variety, but I think this piece came together nicely. DIRK: Fun for the whole family style wholesomeness, any motherfucker in the radius of a screen displaying this image will instantly get hit with a sore case of heartburn and their tear ducts will clock in overtime at the weeping factory.

ROXY: im so proud of these i think these are my best designs yet :3 but omg dirk callie and jake were SOOO peculiar about their damn designs over my shoulder. jake wanted me to clarify that even in pink pen form his little guy is BLUE. so there. sigh this is the one occasion they could take notes from janey.. JUST LET LE ARTIST WORK!

JANE: Boy! I don't draw often but I always was fond of calligraphy growing up. I was kind of inspired by all of the other's works, but especially Calliope's swirls she puts in her art. It's very fun to add!

JAKE: Im not quite the best with posing, but i find the head very fun to study! Especially skulls.. so good ole calliope makes for the perfect muse! (hehe)

CALLIOPE: i realized i hadn't ever made a piece with Us in the same place at once. u_u CALLIOPE: bUt since it's reality now here's all of Us together, United at last! ^u^

==->

[biggest-gaudiest-patronuses]

going through my old journals as part of therapy homework and i'm reading a section written in the emotional wreckage of a full-on breakdown when i get hit with this line:

There is never a satisfying answer to ‘Why didn’t they love me?’

like wow babe. good fucking point

[the-crooked-library]

Nuance, Narratives, and Nosferatu

As of today, Robert Eggers' Nosferatu (2024) has only been in theatres for 4 full days; and, coincidentally, that is about as long as I am able to let my thoughts marinate before they demand to be communicated. Before going into any further detail, let it be known that this film was made by freaks for freaks; it exists for the goths, the gays, the monsterfuckers, the historians, and for all those who delight in moral and thematic complexity.

With that being said - spoilers under the cut!

There are two principal narratives running through the flesh of Nosferatu, both of them rooted heavily in the cultural and literary origins of the story. It is a nightmare; it is also an erotic fantasy. It is horrifying, and it is also achingly romantic. From what I've seen so far, the vast majority of discourse that has already emerged around the film is caused by people misunderstanding or deliberately ignoring the relationship between these different lines of analysis; so please trust me when I say, from the bottom of my heart, that this duality is the very lifeblood of the movie.

The reason for that is, quite simply, that Nosferatu is a gothic horror film, set in 1830s German Confederation; and its plot relies on the same (sometimes contradictory) complexities often displayed in Victorian gothic fiction.

From the beginning of the movie, we are given to understand that Ellen Hutter met Count Orlok - the eponymous nosferatu - psychically, when she was very young. They spoke, she pledged herself to him, and was horrified to realize what she had done when he revealed his true visage to her in their first visual (and sexual) encounter.

Here, under the lilacs, the paths diverge.

The first reading of the film is perhaps the more straightforward. A young girl is essentially catfished and groomed by a much older, dangerous man. When they meet for the first time, she is a teenager; the lilacs that bloom where it happens become a trigger. He is the source of her madness and "melancholy" (depression), she has nightmares about him regularly enough that her husband is aware of them, and it is implied that she has been institutionalized in the past. Thomas Hutter is the physical representation of her one desperate hope for a normal life - but as the story progresses, she finds herself being denied even that. Orlok's psychic connection with her verges on demonic possession; in chilling, The Exorcist-inspired sequences, she writhes and mutters, prophesying a city-wide reign of death and terror. In pursuit of his claim on Ellen, Orlok terrorizes her husband, murders her friends - and, eventually, she gives her life to take him with her to the grave, saving the city from the plague he caused.

That is the horror element of Nosferatu; it deals with an exploration of childhood trauma, of PTSD, of difficulties maintaining a social life after the fact. It is easy to understand even from a modern viewpoint, and it pushes the film to its conclusion with a bleak, heart-wrenching punch.

The horror is not the only element of Nosferatu.

To contextualize the alternate - though just as correct - reading of the film, it is essential to understand that Ellen’s society was extremely sexually repressed, especially in regards to female and queer sexuality.

Both were severely medicalized, demonized, and restricted; and as such, when these topics do make an appearance in contemporary fiction, they are often inextricable from disgust and fear.

Dedicated as always to historical accuracy, Eggers maintains the same setting-based narrative coding.

In anticipation of morality arguments vis à vis monstrosity, depiction, and modern purity culture, let me clarify: this is something that works within his chosen genre. Horror, and especially gothic horror, invites a deeper analysis in regard to morality and motivation, and in this case, Eggers' homage to the origins of that genre grounds the narrative in its time and location, as well as fleshing it out much further than a purely modern cultural lens would permit. In this context, the details of Ellen's connection with Orlok become paramount to the understanding of the film.

As bits and pieces of their background become revealed, the audience realizes that her psychic gift did not begin with him - and neither did her melancholy, or her isolation. She was born with her abilities, and throughout her childhood, she was a bit of a tomboy by her contemporary standards, running wild in the woods near her father's property; however, once she foretold her mother's death, and once she was too old to get away with eccentricities, her father became frightened of her abnormality. She was isolated, confined indoors, and that is when her melancholy had begun. Painfully lonely and aching for some form of companionship, she called out into the ether; and Orlok responded.

Over the course of their story, he becomes the physical manifestation of everything Ellen perceives as dark and sinful about herself.

He is psychic, he is vicious, possessive, and blatantly sexual; her sensual affection with Anna parallels the evident and physical attraction he displays towards Thomas; and the social power he so easily commands is the same that she lacks, being a woman in a rigidly patriarchal society.

In the end, the severely questionable age gap, the murders, the coercion, the betrayal - all of that comes down to respect. Throughout the film, that is the one thing that Ellen is consistently denied. She is young when she meets Orlok, yes; but she is aggressively infantilized by her surrounding society even when she is a grown, adult, married woman.

It starts from the beginning of the film, when the Hutters visit the Harding family. During those scenes, the men are shown talking business - while the women play with children in the parlour; and the same social framing persists into the body of the film. When Ellen is suffering from what appears to be some form of mental illness, she is referred to as a child by multiple different characters; and when the condition progresses, she is swiftly diagnosed with hysteria and drugged - thus being forcibly removed from the discussion of her own illness. The general reactions to that illness - which is, in fact, a display of her psychic abilities - range from annoyance to fear to curiosity; it is seen either as a disability or a curse, rather than anything entirely innate to who she is. Her fears are dismissed. Harding tells her to learn some deference. Even closer to the finale, when Von Franz admits that she could have been a great priestess in another age, he does so with pity rather than anything else; in their industrial era, he cannot help but see her only as a tragic sacrifice - horrible, but necessary to save the city from a plague. Brought in to heal her, he instead guides her to her death.

All these aspects of Ellen's circumstances find a direct opposite in her relationship with Orlok. Unlike all other characters in the film, he only ever sees her as his equal, which is made even more evident when his interactions with Thomas and Herr Knock are brought into consideration. With both men, Orlok insists on being addressed by his lordly title, "as his blood demands it"; and yet, Ellen never calls him by any title at all, be it "My Lord" or even a simple "Herr." She argues with him freely, and there is a familiarity between them that he is demonstrated to never tolerate from anyone else. Similarly, while he disguises the covenant he makes with Thomas, the terms of his covenant with Ellen are laid out clearly, in full. He does not hide from her; she already knows the worst of him, the same way he knows that she is intelligent, that she is powerful, and that she is not meant to be demure and deferring. Again and again, Orlok insists that Ellen is not meant for humanity - and the true horror, the horror she cannot bring herself to face, is that he is right.

In a sense, he is a mirror held up in front of her own face. Ellen is painfully aware that she does not fit in, and that she never has. The "normal" society, epitomized by the Hardings (wealthy husband, pretty blonde wife, 2.5 kids), has no place for her - and actively dislikes her.

The film makes this ostracism impossible for the viewer to ignore. As the story progresses, it becomes evident that the other human characters - even those that do sincerely care for Ellen - never truly know her. Anna loves her, but wishes she would not talk of dreadful things - and lashes out as a result of that discomfort, scolding her. Sievers finds himself bewildered by her; Knock sees her as an object to trade; Von Franz pities her, Harding hates her, and Thomas cannot truly satisfy her, even after being touched by the supernatural himself.

Seeing a flash of a monstrous face while they are together, he flings her away. To him, his experience with Orlok is merely traumatic, and he wishes for nothing more than to leave it behind. However, to her, it is something she cannot help but crave; and she continues to wear her lilac perfume.*

All that to say - Count Orlok is, simultaneously, everything Ellen wants and everything she is terrified of being.

That specific dichotomy reaches its climax during their mutual finale. As it is to be expected from a vampire wedding night, they rejoin in a sequence of sex, blood, and renewed vows - and what is particularly notable is that (unlike Murnau) Eggers makes it clear that this Orlok never intended to kill his Ellen, despite his inability to resist her blood. Though he drinks from her through the night, he stops at cock-crow; and she guides his head back down herself, distracting him long enough for the sun to rise. It is a duet of accident and intention. He drains her; and she holds him as the sun drains him. They cling together as they end - on a bed that serves their wedding and their death.

It is romantic. it is unquestionably romantic. However, that does not mean that the horror isn't also present; Ellen's consent, under these circumstances, is highly debatable, and Orlok is cruel, amoral, and murderously possessive. At the same time, the characters are also acting out folkloric archetypes, with precious little adjustment to that framework - which further removes them from a modern understanding of morality. He is Death, a Koschei the Deathless, a monster; she is the Maiden, a Vasilisa, a damsel. I hesitate to liken them to the Beauty and the Beast, largely because in the original premise of that story, the Beauty falls in love with the kindness that the Beast consistently displays; and it is essential to stress that Orlok has none. He does care for Ellen, in his own way, but he admits to being incapable of love as she defines it in human terms;** and, curiously, that seems to be her primary concern when it comes to the idea of accepting his proposal - rather than all the blood and carnage.

What I'm trying to say, I suppose, is that there are multiple ways of following a story, and multiple different stories in a film as nuanced as Nosferatu. Yes, it is about grooming and trauma. Yes, it is about finding love outside of the cage that is "polite society." I'm sure that it is many other things besides, with as many meanings as there are people in the theatres; after all, I am only one person, and the film grossed something over $40M in its first three days. The point is, really, that this is a story in which a rotting vampire is woken from centuries of deathlike slumber by a lonely voice asking him to be her friend; and whatever these two strange and aching souls do with that can go down any myriad of paths. The film trusts the viewer to interpret the narrative they choose.

* LILAC PERFUME - in fact, it is such a consistent favourite of Ellen's that Orlok smells it on her hair in the locket she sends with Thomas to the castle. Thomas never really learns the reason she likes that scent - even though he knows that preference well enough that he gifts her lilacs in the beginning of the film.

** ORLOK'S OBSESSION - this is a side note, but: the vampire wedding sequence reminds me strongly of the third season of NBC's Hannibal. I suppose that was to be expected, considering that Hannibal is also a Dracula offshoot, much like Orlok himself. When Ellen snaps at Orlok that he cannot love, he responds that "no; but only with you, I can be truly sated." Similarly - "Is Hannibal in love with me?" asks Will; and Bedelia responds - "Could he feel a daily stab of hunger for you, and find nourishment at the very sight of you?" I'd say if you liked that series, you should try and see the film. It works with a familiar blend of aesthetic horror.

[shittalkerxox]

I think a really fun idea to explore with Tim would be the idea of him having Hyperthymesia.

Hyperthymesia is an ability that allows people to recall almost every event of their life in great detail. It's extremely rare and honestly doesn't have that much research done on it, but recent studies have suggested that people with this ability are limited to autobiographical memories, people with HSAM sometime tend to show symptoms of Obsessive Compulsive Disorder and may demonstrate obsessive tendencies.

I think it would be an interesting way to explain why Tim was able to recall his first meeting with Dick Grayson and connect the dots to seeing Robin. Tim does display a lot of obsessive behaviours, and while he doesn't really physically display compulsion (like someone with OCD would typically display) there certainly is a strong case to be made for him potentially having it.

But also, can you imagine how fucking horrible it would be for Tim to remember each and every traumatic thing that ever happens to him as a hero and those memories just never fading. Yes, it would make him a better detective and allow him to be arguably smarter than your average joe, but at what cost?

[lostgoosebe]

He’s just a girl in the world

[soulsilvers]

top ten reasons why red is THE MOST BADASS trainer in the pokemon franchise NUMBER ONE he gets that man pregnant!!

green and red still have the energy and room for one more <3 that wish proves itself to be.. fruitful.

(yes this subject matter can possibly piss off some tumblr catholic. blacklist the pregnancy tag if this is not your thing or block me. thank you for your co-operation.)

[aroaceleovaldez]

Nico and Percy's dynamic through the series is eternally funny to me, because it's just. like.

Percy's having a constant mental struggle between his fatal flaw of loyalty with a promise he made to Bianca to protect Nico, versus his Big 3 kid desire to maim other Big 3 kids / Poseidon descendant urge to totally maim Nico specifically. He hates Nico so so much. He thinks Nico's annoying and weird at best, and creepy/sketchy when he's older. The only positive thoughts Percy has towards Nico are "He's Bianca's brother and Bianca was my friend and I owe her/He's Hazel's brother and Hazel is my friend and would kill me if I was mean to him," "He's a powerful asset and useful ally (if questionable)," and "He's kinda pathetic and I feel maybe a little bad about it." Percy has multiple occasions throughout the series where he strongly considers - and on one occasionally actually goes through with - throttling Nico.

Meanwhile, Nico is following around Percy like a lost puppy. He explicitly can never bring himself to even dislike anything about Percy no matter how hard he tries. He has a whole bit in BoO where he's mentally going "UGH he's so stupid BUT IT'S ENDEARING HOW DARE HE." He's totally smitten. He's making deals with his dad for Percy. He's making convoluted plans to help Percy stand a chance against Kronos. During the entirety of BoTL it's like he's playing tsundere - "I'm helping NOT PERCY SPECIFICALLY with this quest! Me helping Percy would be SILLY because I DEFINITELY HATE HIM." Then he proceeds to show up to Percy's birthday party to basically ask him on a weird date and spend the entire next book scrambling around trying to help him or protect him or impress him. And Percy could not give less of a shit.

Just. That dynamic is so funny to me. Percy is the founder of the Nico Protection Club in that he's the one they're all protecting Nico from and meanwhile Nico is throwing himself at Percy to the point where the literal god of gay love calls him out on it.

[everestgale]

Inspired by this un-cheated Cheated from @/itsonlypolite and by my un-broken Broken, I started to think about what would un-cold Cold look like (it was also a suggestion from @/neverpathia)

Specifically, I imagined how much Cold would change, wither and, quite literally, grow colder as the Narrator shoves the Long Quiet into the Good Ending. It was a fun exercise to see if I could figure out what Cold would look like before he gets traumatized by the eternity of nothingness and boredom. His frame gets thinner, his feathers get longer and more tattered, and his expression gets more and more done with everything :]

...and then this snowballed! And I started thinking about Paranoid, too:

...not that different from how I normally draw him, except he's got actual eyes! What happened to them?

...the Nightmare happened :]

(This was supposed to be a quick brush test, but then surprise! I really wanted to draw the moment his eyes "break" and turn into the static-y mess they are normally. Also pre-Nightmare Paranoid doesn't need gloves, too! It's only after the Long Quiet's body gets thoroughly paralyzed by Nightmare that he needs them as a sensory item, if that makes sense... I've got a lot of Paranoid HCs-)

[efverse]

collapse at the ruins of alph...

unowns growing attachment to j being the major catalyst for her causing a major collapse at the ruins of alph with the unown in the physical realm to stop anymore of the truth from getting out.

and reluctantly willing her peoples history to be forgotten to time. and ultimately putting her own spirit to rest in the process...

+(translation of 2nd pic: "unown are selfish, selfish creatures...")

[beaulesbian]

how it feels playing da4 tbh

[korpikorppi]

Guys, I just now noticed one more interesting little detail in the Untamed!

You know the names of the buildings in the Cloud Recesses: the lecture room/hall Lanshi (兰室, Lánshì, "Orchid Room"); Yashi (雅室, Yǎshì, "Elegant Room") – the reception room/hall; the spirit-summoning room/hall Mingshi (冥室, Míngshì, "Underworld Room" or "Room of Darkness"); Hanshi (寒室, Hánshì, "Frost Room") - Lan Xichen's residence; and Lan Wangji's Jingshi (静室, Jìngshì, "Quiet Room"), right?

The character used to write the "shì", room, in the names is 室, here seen in the Lanshi and the Yashi (the names are read from right to left):

As a side note, the Lan seem to use the traditional rather than the simplified characters, so the "lán" in the Lanshi is written with 蘭 rather than 兰.

BUT. Not so in the Jingshi! Instead of the 室, a slightly different character is used for the "room":

My trusty dictionary did not know the character in question, so I started to look at what was different:

As such, the character 凶 (xiōng) means act of violence, murder, evil. An evildoer. A murderer. And as Lan Xichen told Wei Wuxian, we know who lived in the Jingshi before it became Lan Wangji's residence: "It is the place where our mother lived in the Cloud Recesses".

So, it seems that when the house became Madam Lan's prison, the character was changed to reflect her crime, denoting the place as the quiet room of a murderer. Accentuated by the reversed colours of the sign:

This has probably been quite self-evident to anyone who actually speaks and reads Chinese, but was quite an oooff! to me as I realised. One more killer detail in CQL 😟.

And while I was at it, I just had to check what it says above the gate (seen here when LWJ returns home with the Emperor's Smile):

As far as I can read it, the characters are 影竹堂 (yǐng zhú táng), which I freely translate as "Bamboo Shadow Court". An apt name for the place.

Hopefully it offered some solace to Madam Lan.

And oh, I just have to add! As Hanshi is the Sect Leader's residence, Lan Xichen is living in their father's house, while Lan Wangji is living in their mother's. And the two houses are more or less identical, down to the furnishings (just check the scene where Lan Xichen confronts Wen Chao and his muddy boots in ep8 vs. The Wangxian Scene in ep43). So did Qingheng-jun have the house built for his wife, identical to the house she was not allowed to live in? That is quite plausible, in universe. Out universe, they probably had only so many buildings to shoot in :).

[kojitheopossum]

could’ve been us bdubs

[utheny]

what if i told you pen and colin fell in love at the same time it just took colin longer to realize?

[entelodante]

More penta-beasts! Want to get a good grasp of the morphs going on in this planet. So sketched these out between coms! Info below!

First is more of a grazing type of 'animal', though their grazing is more so scrapping at the ground. The top and bottom jaws are used for scratching up edible bits from the biomat, while the middle are used for combing through the gunk they accumulate from scratching. They also got these long curved eyes. I was thinking like how animals with horizontal pupil align the pupil to the horizon, these guys just have their eye built into two modes so they have the wide vision when feeding and just hanging out. Maybe a lil goofy but this planet is just made to be silly. Like this other guy! This is a predatory pentapod, usually stalking up in the night before starting a quick chase. Most of the time the food gets away but if not they have modified their spear into their primary method of dispatching prey. They kill via exsanguination and eat with very dainty little bites as their jaws have atrophied a little bit. Also fun spikey shell to make them extra dangerous! Maybe it's when they have lil spats with each other.

[somehow-a-human]

The Filming of Good Omens Season 2 -

A Chronological Masterpost

I've finally put together this huge piece of meta that I have been working on for a very long time. I haven't written or posted much about GO since the allegations dropped. I don't think I need to explain anything to all of you about that. It has been hard to find my motivation again, but I'm finally feeling motivated to write, what with season 3 (I will not call it 'the finale' you can't make me) beginning filming very soon and all. <3

In this post I will try to put together the filming timeline of season 2, in order to hopefully give us more context and decipher the reasons behind season 2's blatant discontinuity problems.

I used any and all information I could find. From actors/writers/artists social media accounts, news articles, BTS information, filming slates, and more. We will follow a chronological timeline to establish what order the scenes of Good Omens 2 were filmed in. At the end we'll discuss what the findings might mean for the discontinuities of S2.

Are Crowley's sideburns changing lengths for a reason? Or are you just seeing them consistently grow throughout filming? However, why they might let them grow out instead of just trimming them is a different question all together...

Okay let's jump in!

Before the Beginning...

June 29th 2021 - NG posts on Instagram - Announcing GO series 2, and the BBC also releases an article announcing filming will take place in Scotland.

September 23rd 2021 - Prime XRay Trivia - Episode 3, timestamp 13:04 -

"The background plates for this car scene was the first footage shot for Good Omens Season 2 on September 23rd, 2021 at Forrestburn Hillclimb, weeks before the main shoot began."

This is the background scenery for Aziraphale's drive to Edinburgh, and was likely captured while crew were scouting locations.

October 13th 2021 - Michael posts on Twitter - His hair has been bleached for filming.

October 18th 2021 - NG posts on Instagram - First day of filming on the set in Bathgate, Scotland.

October 18th 2021 - Based on the scene number, this is likely a St. James park scene from early in episode 1 (not necessarily filmed at St. James mind you).

October 19th 2021 - Georgia posts on Instagram - David's hair has been dyed for filming.

October 26th 2021 - Aziraphale receives Maggie's note.

October 18th - 31st 2021 - Prime XRay Trivia - Episode 5, Timestamp 3:53 -

“This was the first scene Michael and David filmed together for season 2"

The scene being referenced is the modern day magic shop scene where Aziraphale invites Mutt to the ball. The ball invite scenes were some of the first scenes filmed. (Excluding the invite to Arnolds as the music shop interior was not actually located on set with the rest of Whickber Street, it must have been filmed later.)

November 2nd 2021 - NG posts on Instagram - A photo of Michael and David on set together. This looks to be one of the outdoor whickber street scenes, my best guess is this would also be the scenes where Aziraphale invites the Whickber Street shopkeepers to the ball.

November 2nd 2021 - NG posts on Instagram - a zoomed in photo of the "cupperty" scene. Only Crowley and Aziraphale's faces are visible. Quelin Sepulveda as Muriel was likely available from the start of filming, so some scenes featuring Muriel were able to be filmed at least prior to November 2nd.

November 6th 2021 - Georgia Posts on Instagram - David and Georgia attend "An Audience with Adele" at the London Palladium, so he must have gone home and spend some time with family <3

November 8th - 12th 2021 - Filming at Stirling Castle Graveyard, Stirling Scotland. This would include the episode 3 bodysnatchers minisode scenes in the graveyard, and Aziraphale's present day visit to the graveyard.

November 15 - 19th 2021 - Filming in Dumbarton and Queensferry. This would include the Edinburgh street scenes from the bodysnatchers minisode and scenes with Dalrymple at Hopetoun House. NG also says "Next week we're back in Bathgate".

November 22nd 2021 - Hell scene - Shax asks Beelzebub if she can attack the bookshop.

November 22nd 2021 - Anna posts on Instagram - The caption is: "It's Scotte-land, daddy!" Based on the previous filming slate, if they were filming scenes in Hell, Michael had some free time to spend with Lyra and Anna <3

November 25th 2021 - Ennon's house/courtyard scene is filmed.

November 26th - December 5th 2021 - News Article - Filming crews and the Bentley are seen at circus lane in Edinburgh, this would be to film any of the scenes when Crowley is in the alley.

December 16th 2021 - Georgia posts on Instagram - David facetimes her from set, holding a Good Omens 2 mug and sporting some styled Crowley hair.

December 18th 2021 - Glasgow donut shop Tantrum Doughnuts posts on Instagram about providing Christmas donuts to the Good Omens crew.

December 25th - January 1st - Georgia posts on Instagram - David is home for the holidays and Anna posts on Instagram Michael is home for the holidays.

This is the point at which Jon Hamm joined the production! He was only available halfway through filming so any scenes with Gabriel/Jim in them were filmed after this point.

January 11th 2022 - Aziraphale's arrival to the Edinburgh pub is filmed, multiple sources post about seeing the production take place.

Jon Hamm is also seen arriving on set in Edinburgh to film his and Beelzebub's Pub scenes.

January 13th 2022 - The ball begins & the demons invade Whickber Street. Scene 19 gives us the dichotomy of the warm jubilance inside of the ball contrasted with the scary scene taking shape outside as Nina and Maggie arrive.

January 14th 2022 - "You are out of order!"

January 17th - 19th 2022 - Scenes 21 - 27 are all the goings on inside the ball: the seamstress conversation, Maggie and Nina dancing, Crowley and Aziraphale dancing, etc.

January 23rd 2022 - Instagram user marty.kelly (also the Supervising Art Director of GO2) posts a photo of a stunt banana peel. Could this be the peel that Maggie tosses from her shoulder during the bookshop invasion?

January 26th 2022 - Filming Slate - "Leave now and nobody will be hurt"

February 12th 2022 - Georgia posts on Instagram - David is home.

February 14th & 15th 2022 - Filming at Bo'ness Hippodrome takes place. These are the whiskey delivery and subsequent magic show scenes from the 1941 minisode.

February 16th 2022 - The hitchhiker scenes from episode 4 with Shax were filmed at Forrestburn Hillclimb. A local car club posted about the filming crews visit.

February 18th 2022 - Shax rousing the troops.

February 22nd 2022 - Douglas posts a photo of himself in front of the blue screen set for the Before the Beginning scenes.

February 24th 2022 - Instagram user kaedesmith7, who worked on the set of GO2 posts a photo of a pen of goats with the caption "Just a normal day at work" - We can guess then that some of the Companion to Owls minisode scenes were filmed on or around this date. If I had to guess, these would be the scenes where the large blue screen set was needed.

February 26th 2022 - Georgia posts on Instagram - David and Georgia go out for a date. Sidenote: cute <3

March 1st 2022 - The last scene is filmed on the last day of shooting. Douglas posted the slate on Instagram and Michael posted on Twitter about "hanging up his angels coat"

Conclusions:

SO! What can we learn from all of this brain rot I've compiled? First, let's list the scenes of GO2 in filming order. I'm going to include some scenes I don't have explicit proof of, but were likely filmed at the same time as others.

Crowley and Shax meet at St. James Park

Azi gets Maggie's note, and additional record shop scenes

Crowley and Aziraphale invite the whickber street shopkeepers to the ball

Coffee shop scenes, Maggie & Nina scenes, and bookshop scenes without Jim were likely filmed around this time

Muriel's arrival and cupperty scenes

Bodysnatchers minisode & Aziraphale's present day visit to the graveyard

Shax asks Beelzebub if she can attack the bookshop, more Hell scenes were likely filmed as a batch during this time.

A Companion to Owls minisode courtyard and cellar scenes

Scenes with Crowley in the alley way: Shax tells him Gabriel is involved, Crowley is summoned to Hell by Beelzebub, Shax tells Crowley she thinks Aziraphale is involved

Aziraphale arrives at The Resurrectionist

Gabriel and Beelzebub's meetings through the years

The Ball and demon invasion

The first weeks of february are likely when they filmed most of Gabriels whickber street and bookshop scenes

1941 minisode scenes at the theater

Shax tricks Aziraphale into picking her up as a hitchhiker

Shax rouses the troops prior to the bookshop invasion

Blue screen scenes were likely filmed around this time including Before the Beginning, the opening and closing scenes for A Companion to Owls

The last scenes were filmed on the final day of shooting.

I couldn't find much to indicate when the Heaven scenes were filmed so if anybody has anything, this is very much a working document so feel free to share!

What does this tell us about a 53 year old man's sideburns? Well, to me it seems like they simply grew out during filming. Does this explain Bildad having two completely different wigs?! NO. Does this explain why they didn't just trim them to a consistent length during filming? NO. When his snake tattoo was being applied nearly under his jawline, there must have been conversation about it's placement, but they chose to leave it for a reason. Why? Well hopefully we'll understand some day.

I can also tell you that the progressive wear on Aziraphale's beloved waistcoat is consistent with the filming timeline. I won't bore you with the entire document filled with screenshots, so you'll have to believe me, but it appears to be that his waistcoat simply aged as filming went on.

What do you think? Let me know your thoughts and as we approach S3 filming, happy sleuthing and happy holidays!

As always a massive thank you to the folx @ineffable-detective-agency for their contributions! @embracing-the-ineffable, @noneorother, @kimberleyjean, @lookingatacupoftea, @komorezuki, @maufungi, @havemyheartaziraphale, @theastrophysicistnextdoor, @dunkthebiscuit, @ghstptats, @251-dmr, @commonmexicanname, @eybefioro, @beebopboom

[only-lonely-star]

no thoughts, just this picture.