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kraftwerk-maxfichtner · 9 months

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GEHEIMNIS-Monopoly Gnade [#69i]

Ist die Gnade Gottes so etwas wie die "Du kommst aus dem Gefängnis frei" Karte bei Monopoly?

Beim Monopoly Spiel gibt es die Karte: Du kommst aus dem Gefängnis frei“. Wer die Karte ausspielt ist von seinen Sünden befreit und wiederhergestellt. Manche behandelt die Gnade Gottes ebenso. Wie ein Stück Kernseife mit dem man sich die Hände waschen kann. Doch diese Sichtweise stimmt so nicht … #Monopoly #Gnade #seelischesGefängnis #gottesruhe #Freiheit #KraftwerkBlog . https://youtu.be/m0v80WWVbhw Falls der Video Probleme macht: Link: https://youtu.be/m0v80WWVbhw Listen to Geheimnis Monopoly Gnade byFrank Vornheder on hearthis.at Wer kennt nicht das #Monopoly Spiel. Fast jeder hat schon einmal das Spiel des radikalen #Kapitalismus gespielt und mit Freunden um die Vorherrschaft auf den Strassen und um die Hotels gekämpft. Etwas besonderes bei diesem Spiel ist die Situation, das man in das #Gefängnis kommen kann (natürlich nur als Spielfigur) und damit für eine Zeit aus dem Spiel herausgenommen ist. Gegen diesen, für den Spielverlauf sehr ungünstigen Umstand, hilft nur und ausschliesslich die "Du kommst aus dem Gefängnis frei" Karte. Wer diese in seinem Besitz hat kann problemlos weiterspielen. Manche Christen meinen nun die Gnade Jesu sei so eine "Du kommst aus dem Gefängnis frei Karte". Egal was kommt, oder welchen Unsinn sie anstellen, zieht man diese "Super-Joker-Karte" und alles ist wieder wie vorher und man kann weitermachen wie gehabt. Was für ein Unsinn! Wer in der Gnade lebt lebt nicht mehr so wie vorher. Aus drei Gründen: 1.) Die Sünden die wir begehen haben seit Jesu #Sühnetot am Kreuz auf #Golgatha nicht mehr die Kraft uns von Gott abzutrennen(1), sehr wohl aber die Kraft unser physisches Leben zu zerstören. Nehmen wir zum Beispiel Zigarettenkonsum, übermässiges Essen, Alkohol oder anderes. Diese haben nicht die Kraft uns von Gott abzutrennen, wohl aber die Kraft unser Leben zu zerstören. Darum schreibt Paulus ja mehrfach in seine Briefen, dass wohl alles erlaubt ist, aber nicht alles gut für uns ist (2). Wobei das "nicht gut" bei diesen Beispielen schon eher untertrieben erscheint. #vergebung 2.) Leben in der #Gnade bedeutet IMMER und automatisch dem Heiligen Geist und damit Gott selber die Erlaubnis zu gebe, in wirklich ALLEN Bereichen meines Lebens und meiner Persönlichkeit #Veränderung zu bewirken. Egal ob dies durch Ausseneinflüsse und durch seinen Geist in mir ist. Solche Lebenshaltung wird immer langfristig dazu führen, dass Verwandlung in die Christusähnlichkeit stattfindet. Leben in der Gnade bedeutet also immer Gott die Erlaubnis zu meiner Verwandlung zu geben. #HeiligerGeist . 3.) Benötigt es in unserem "Spiel" keine "Du kommst aus dem Gefängnis frei" Karte, weil es keine "Gehe in das Gefängnis" Funktion gibt. Wie beruhigend und gleichzeitig wie herausfordernd, denn dadurch leben wir in dem permanenten Zustand der Gnade, und so wird der Heilige Geist an uns und in uns permanent sein Werk tun. Leben in der Gnade ist keine "Du kommst aus dem Gefängnis frei" Karte, sondern unsere Selbstauslieferung an den verwandelnden Heiligen Geist. (1) Bis auf zwei sehr speziellen Ausnahmen auf die ich später einmal eingehen werde. (2) Bibelstellen

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#Freiheit #Gefängnis #gnade #Golgatha #gottesruhe #heiligergeist #Kapitalismus #kraftwerkblog #monopoly #seelischesGefängnis #Sühnetot #Veränderung #vergebung

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vesperythings · 11 months

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"golgatha", an age old thing i did for uni.

based on a german audiobook, thus the german text.

a whole bunch of lines, was heavily into the moebius thing of tons and tons of grey at that point.

i mean, obviously i still am. the right blend of black and white on a page... shit's just pretty.

#comic art #comic book art #comics #indie comics #comic books #graphicnovel #black and white #inkdrawing #drawing #creamyvelvet #pen and ink #blackandwhite #comic page #original comic #short comic #golgatha

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photoglobo · 1 year

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Israel - Holy Places In Jerusalem (2/2)

There was much more to see in this holy city. Most obvious the Dome of the Rock on top of the temple plateau. The area is bigger than it seemed from below. Tina, the tour guide, lead us over a wooden ramp along the western wall to the plateau near Al-Aqsa mosque. From there the view opened to the famous Dome of the Rock. Around the plateau are many trees and park like areas where family…

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zoeflake · 5 months

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Golgatha And Dawn And Dusk Entwined - Magdalen

#:Golgatha:#dawn and dusk entwined #magdalen #sang graal album #neofolk #neoclassical #favorites #melancholic

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youjustwaitsunshine · 10 months

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i forgot how insanely uncomfortable sandals are 😬

#i already taped the places that are the worst before i left this morning but it's still so painful #however they look great #(it's the doc martens gladiator sandals)#very golgatha crown of thorns chic #my friends and i already joked about me copying the jesus cosplayer who got his cross stuck in the ceiling of the cologne cathedral station

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dxrknessembr8ced · 1 month

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Meanwhile.....

Through the halls as the two are one step closer through the hallways the oldest sister Mei-Ling feeling tired and a suddenly felt an odd form of pain from her body she leaned against the wall panting heavily while Tessa quickly check up on her to see if she's okay after their long run of fighting. There's Tears flooding dripping from her eyes at such the thought of loosing her sister from the cult within this building.

" I-I....I'm tired.. "

Examining and comforting her closely she notice her veins are appearing from her right arm up to her neck.

" Mei-Ling, are you....-! "

Mei-Ling widened her eyes gritting her teeth as the pain suddenly intensified within her own body. Something is wrong with her and the sorcerologist get to see it first hand witnessing the beginning.

" GET AWAY-! "

She hunch over on the ground holding her right arm as she begins going through a horrific state of metamorphosis revealing that the cult had injected an enhanced version of a virus into her body but what virus have they inject her with? Mei-Ling screamed in agony as the mutation taking affect rapidly as her muscle mass from her right side rapidly increased so fast tearing her skin right open and the bones on her right arm kept growing until it tear through the fingers becoming massive claws.

' KRRRAAASSCHHH !!! '

Mei-Ling lifted her now mutated left arm as she screams louder with tears dripping all the way down into her face.

" GGGAAAAAAUUGGGHH!!! "

Through the pulsating organic mass with large sharp claws the poor older sister has now generated a large eyeball at the front shoulder of the mutated limb.

' PPPRRCCKKK!! '

Tessa looked on in absolute horror and for the first time in despair of what have she just witnessed. The older sister examined her now mutated right arm in tears of such despair panicking as the mutation isn't over. Far from it.

" W-WHAT'S HAPPENING TO ME?!?! "

She suddenly turned to her left arm now as it begun to mutate to match with the right mutated arm. Her muscle mass increases, ripping apart her sleeve, fingers torn apart by her bones now turn into large claws and generated another large eye ball at the front of the left shoulder this time as the eyes on both shoulders blinked, tears oozing from the eye shoulders as Mei-Ling cried out in pain. Tessa couldn't sit by and let her suffer she quickly got up running towards her and try helping her.

" MEI-LING-! "

Slamming her enlarged clawed hand onto the ground pushing Tessa away again this time further.

" I-IT HURTS! GET AWAY FROM ME TESSA-!! "

The oldest sister have been infected with a new enhanced strain of the G-virus and the mutations as of now are just the tip of the iceberg as the now G-mutant Older sister let out a loud growl running away tearing apart the metallic door getting away from Tessa and try looking for her sister alone. With the G-mutant Mei-Ling on the loose Tessa now chases after her unaware of the danger she put herself through.

" MEI-!! "

Today marks a horrifying tragedy within the shao family. With the enhanced variation of the G-virus now flowing through her body allowing her to constantly mutate into a far more powerful G-mutation. A mutation that rivals her youngest sister and much like her she will become a second god incarnate that will wreak havoc upon this world and seek vengeance for their endless torment.

#{ Musing: Mei-Ling }#{ Musing: Tessa }#{ The Oldest Sister }#{ The Sorcerologist }#{ The Resurgence Of Golgatha }#{ The TRUE Birth Of Mei-Ling-Nyx }#{ A New God Is Born }#SoundCloud

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duranduratulsa · 3 months

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Golgotha Tenement Blues

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Song 🎵 of the day: Golgatha Tenement Blues by Machines of Loving Grace (1994) from The Crow Original Motion Picture Soundtrack #machinesoflovinggrace #golgotharenementblues #thecrow #90s

#the crow #machines of loving grace #Golgatha Tenement Blues #90s #Youtube

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godheadjones · 1 year

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one thing about sabrina is that it’s super biblically accurate

#layla watching chilling adventures of sabrina #golgatha is the place where jesus died and it is aramaic for the place of skulls!!#bet you didn’t know that pontius pilate and herod plotted together did you #biblical names too! like dorcas is a real name in the bible #biblically accurate sabrina

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pommedepersephone · 7 months

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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.

#good omens meta #look the blocking has me feeling things #just brilliant #i am very normal about them #neil gaiman #good omens #just theatre kid things

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monsterfactoryfanfic · 6 months

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Games journalism is a fucking road to Golgatha. Lin Codega deserved better. Renata Price deserved better. Jenna Steober deserved better. Ashley Oh deserved better. I could go on and on and on and it wouldn’t come close to bearing witness to the hundreds of brilliant people who were shafted by a wretched industry

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greenthena · 6 months

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Oh me? Just cataloging snakey stuff

I'm currently diving down lots of costume rabbit holes (snake holes? sounds wrong...) in the GO universe. My thoughts for today are about Crowley and how he expresses his snakey-ness through the ages. Might I tempt you down this rabbit hole?

Starting off in Eden. It's a very small detail and barely even visible in this screencap, but you can see deep red embroidery "V" shapes on the shoulder of Crowley's tunic here. They're very scale-like and quite subtle. This "V" scale shape is a patterned motif we'll see throughout the early years (really during the B.C. years) of Crowley clothes. Also, Crowley's hair is almost Gorgon-like, the curls resembling the bodies of serpents.

For the Flood sequence, I had a little trouble finding anything snakey. Crowley's hair is less defined (though glorious! love the plait!) so I'm not as tempted to describe the style as Gorgon-esque. But if you zoom into the robe to get a good view of the texture...

...you can see the herringbone pattern in the weave of the fabric. Herringbone is basically a series of upright and inverted chevrons, that continue the "V" shape motif of snake scales that we first saw on the Eden robe's embroidery. Elusive little reference, but pretty clear once you see it. Also note the unfinished hem at the neckline of Crowley's robe, compared to the smoothly stitched and tied neckline on Aziraphale. Undone versus all bound up.

Bildad is just my favorite and I will gladly ramble indefinitely about everything from the Job minisode. *exhale* Bildad's tone-on-tone black robe has both diamond and stripe-dash designs, which are common patterns for snakes in nature. We've also got the belted sash at the waist, with an unusual use of teal (not a color we associate with Crowley). The unexpected color choice draws attention to the chevron motif, which we've now come to associate with Crowley's snakey-ness in the B.C. flashbacks.

And here's an additional Bildad. I make no apologies.

For the Golgatha sequence, Crowley presents as female, wearing a head covering. The robe looks to be the same as what she wore in the Flood sequence, with the subtle herringbone pattern. It's a heavy scene and the costumes are appropriately subdued.

Sidenote: I want to point out here that through the B.C. flashbacks, Crowley's costumes are consistently very textured compared to Aziraphale's. All the fabrics used are earthy and nubby and just very tactile, even when Crowley is playing the part of a wealthy Shuhite. Aziraphale's fabric choices, in contrast, are polished and almost shining. His accessories are metallic and golden and very much of Heaven. But if we look closer at the texture of his garments, even Aziraphale may be minutely subverting Heaven's uniform. Compare the slub texture (and even the unfinished neck hem in Eden) of Aziraphale's robes in the following images...

...to the perfectly smooth fabrics on the robes of other angels...

Gabriel and Muriel wear Heavenly robes of flawless weave. They're smooth, they're perfect...they're exactly what you'd expect. But not Aziraphale. He is, even back in Eden, drawn to the subtle variances and imperfections of Earth. His garments have texture and substance in a way that we just don't see with the rest of the Heavenly Host.

We now resume your regularly scheduled programming in the years of our lord. We're in the A.D.'s bay-bee!

Crowley's Rome ensemble is so confused and blundered. I read a meta that argued, and I agree, that we're to interpret this as, "This is Crowley's first visit to Rome since the crucifiction and he's just mish-mashed all the styles into one, regardless of gender or whatever." I'm good with the interpretation. In terms of seeking out the snakes, though, we've got a few candidates. First, the dark red linework embroidery at the hem of the toga(?). It's got an undulating pattern that we can read as a literal snake, or simply as a variation on the chevron theme. Either way, it reads as snakey. We've also got the snake brooch--on the nose, but why not? Finally, and this one took me a while, and I'm not certain I'm fully on board, but I'm kind of thinking of Crowley's silver laurels as snake scales. I mean, yes, they're Roman-ish, but very out of place in the context of having a quick drink. You don't wander around the streets of Rome proper wearing silver laurels. Maybe snake scales? This isn't a hill I'm willing to die on.

The big take away from the Rome costume is that this marks a change in Crowley's expression. Prior to this period, he's hidden his snake scales in the weave and texture of his garments. Going forward, we're not going to see any more distinct "V" embroidery or snakey textural patterns. Crowley's style is shifting and becoming more luxurious. But first, Wessex.

GO costume designer Claire Anderson said that for the 537 A.D. Wessex sequence, she was not going all in for historical accuracy. She was compiling armor pieces that looked snake-like. Cheers to her, because poor Crowley just looks like a very uncomfortable and damp serpent. Really like the individual plates on the pauldron and the gauntlet. Very scale-like. The chain mail, itself, can also read snake scales, though I'm hesitant to make that comparison since Aziraphale's armor also includes quite extraordinary amount of chain mail.

A moment of appreciation for Aziraphale's cape, if you will.

Once we reach the Elizabethan era, Crowley really hits his stride in terms of fashion. The lines of his doublet are angular and pointed. The collar is lifted up toward the sky, like a snake periscoping in the grass. But the thing I really see in this costume is the excessive use of velvet. It's the perfect fabric to evoke snake scales. If you've ever been fortunate enough to pet a snake, you'll know that running your hand from the head toward the tail is smooth, but in the opposite direction it's rather rough. (Also, don't, because snakes really don't like it--unless they're shedding...) Similarly, if you run your fingers in one direction of velvet, it causes the fibers to lay flat and smooth, but brushed the other way, the fibers stand up and become rough. Just like the scales. It's also just a very luxurious fabric that begs to be touched. Almost like a temptation, you might say.

In Crowley's Edinburgh costume, the most obvious expression of snake scales can be found on his interior waistcoat. The texture of the fabric, however, does not mimic the "V" pattern we've seen in the B.C. era, instead expressing the scales in the black and red checkered motif. Not super subtle, but nothing about this costume is. I love it so much. Not Bildad-level, but still.

The Holy Water Incident has one glaring snake reference, though not really in the costume itself. Crowley's carrying a walking stick (probably recovering from that post-laudanum punishment) and it's got a little snake head. Not much needs to be said here, as it's pretty obvious. It's a snake. You're welcome.

I'm actually going to end this post here, with our final snake reference being the elongated "S" on Crowley's tie. He's very up to date with the fashions of the era, but still manages to incorporate a clear symbol of his serpenty-ness.

So, yah. Snakey scales though the millennia. I want to do an in-depth look at both Crowley and Aziraphale's costumes in the modern era and really pull them apart piece by piece (not like that...) to find all the angelic and serpentine easter eggs Anderson included. Until then.

#good omens #aziracrow #aziraphale #crowley #go costumes #fashion #it's sunday and i need to eat dinner

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