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The third sign that we see focused on in the episode is a No Running sign that Yuuji passes that says "Do Not Rush. It Is Dangerous." Yuuji, of course, runs past it on his way toward the escalators that lead (for him) to Gojo and (for the viewer) to Choso.

Once he does get to the bottom of the escalators, Yuuji is attacked by Choso immediately and Choso's opening move (Convergence), once Yuuji moves his arms up and away from his face, slices up through the subway cieling and the road above to cut the Pedestrian Do Not Cross sign that we saw at the beginning of the episode in half.

We also get out first big Left Arrow, placed immediately in the foreground of the shot and pointing toward the aforementioned sign that's been cut in half (this will be important later), but in a another view, it also points away from station itself. Again, go left to avoid danger.

Our next Left Arrow is on the ceiling between Yuuji, indicating that he should go away from Choso. Interestingly enough, it also points toward the bathrooms that Yuuji will go into later once his fight with Choso in the hallway becomes too dangerous.

That same arrow falls to the floor between them once Choso gets mad after Yuuji tells him about Eso and Kechizu crying, this time pointing directly away from Choso.

Another Left Arrow, this time in a more urgent red. We see this once Yuuji realizes that he's in serious danger, that he'll loose if he continues to fight Choso in the hallway. It's also pointing away from the bathrooms and toward the escalators from Yuuji's point of view beside the bathrooms, indicating that he needs to leave the area entirely.

The previous arrow pointing toward the bathrooms as a safe option has been destroyed and Yuuji has taken some serious damage by the time he moves toward them. The bathrooms are no longer safe. Yuuji needs to leave.

This is followed up by the only Right Arrows that we see focused on in the epsiode, but unlike the Left Arrows, they aren't used to convey how to get away from danger, but rather what is dangerous. Not only do these arrows all point toward Choso outside of the shot, they also have each of his techniques displayed below them.

Once the bathroom fight is over and Yuuji is on death's door, we get a zoomed out shot of his body framed by (two) people cut in half. This sign is shown right before Sukuna makes his only appearance in the episode, where we hear the sound of electricity flickering.

We heard this exact sound earlier from the Left Arrow telling Yuuji to get away from Choso at the beginning of the fight, but I like to interpret it as an audio indicator of Yuuji's life and/or control of Sukuna flickering in and out, becoming weaker.

Side Note: In the previous shot of Yuuji that we get before this one, we see a blade of light cutting Yuuji in half, the same way Convergence cut the Pedestrian Do Not Cross sign in half earlier in the episode. This will come into play later in the post, but keep it in mind.

The next time we see these bisected bathroom signs is when Mimiko and Nanako approach Yuuji to awaken Sukuna. Two people framing Yuuji/Sukuna that have been cut, while those same signs are whole in the hallway to the left. Go left to avoid danger applies to the girls here as well.

Our next important set of signs are actually the same sign, a large green arrow in the foreground that points away from where Yuuji's body is. While Choso stumbles away from it (away from Yuuji/Sukuna) the girls walk toward it.

This is also the first Left Arrow that we see point toward Choso, unlike the one pointing away from him at the beginning of his and Yuuji's fight. Choso, at this moment and onward, is no longer a source of danger to Yuuji or to us, the viewer.

And finally, the final shot of the entire episode, our old friend, the Pedestrian Do Not Cross sign. Yuuji has lost to Choso, the girls have found him to awaken Sukuna, and we get a focus shot of the Pedestrian that previously represented Yuuji cut in half and covered in blood.

I mentioned earlier that we get another shot of Yuuji cut in half by a ray of light in the bathroom.

Here is that shot, and the way that I interpret it is as a reminder that Yuuji shares his body. Yuuji's control of his body has been cut off in the same way that the Pedestrian representing Yuuji has had part of it cut away. What's left is the part that Yuuji can't control, the Pedestrian covered in blood.

In the 1970's Crowley gives a presentation on the M25, projector and all, to a room full of increasingly impatient demons. Maybe the presentation was work-ordered; the 'can I hear a WAHOO?' definitely wasn't.

Before the Beginning, the Unnamed Angel can barely contain his excitement about his nebula. Aziraphale manages a baffled-but-polite, "....That's nice... :)"

11 years ago, Hastur and Ligur want to 'tell the deeds of the day,' and Crowley smiles to himself because (according to the script-book) he knows he has 'the best one.'

(Naturally, his 'deed' has nothing to do with tempting anybody, and everything to do with setting up a human-powered Rube-Goldberg machine of petty annoyance. Oodles of 'Evil' generated; very little harm done.)

Hastur and Ligur don't get it, of course. That's also consistent.

Nobody ever knows what the hell he's talking about.

It didn't make it on-screen, but, in both the novel AND the script-book, Crowley was friends with Leonardo da Vinci. The quintessential Renaissance polymath. That's where he got his drawing of the Mona Lisa --they're getting very drunk together, and Crowley picks up the 'most beautiful' of the preliminary sketches. He wants to buy it. Leonardo agrees almost off-the-cuff, very casual, because they're friends, and because he has bigger fish to fry than haggling over a doodle:

He goes, "Now, explain this helicopter thingie again, will you?" Because he's an engineer, too.

(It is 1519 at the latest, in this scene. Why the FUCK would Crowley know about helicopters, and be able to explain them, comprehensively, to Leonardo da Vinci?

...Well. I choose to believe he got bored one day and worked it out. Look, if you know how to build a nebula, you can probably handle aerodynamics. And anyway, I think it's telling that this is his idea of shooting the shit. 'A drunken mind speaks a sober heart,' and all. He probably babbled about Aziraphale long enough to make poor Leo sick)

Apart from Aziraphale, Leonardo da Vinci is the only person Crowley has any keepsakes or mementos of.

Think about that, though. Aziraphale's bookshop is bursting with letters, paintings, busts, and personalized signatures memorializing all the humans he's known and befriended over 6000 years (indeed: Aziraphale has living human friends up and down Whickber Street. He's part of a community).

Crowley doesn't have any of that. It's just the stone albatross from the Church (for pining), the infamous gay sex statue (for spicy pining), the houseplants (for roleplaying his deepest trauma over and over, as one does), and this one piece of artwork, inscribed, "To my friend Anthony from your friend Leo da V."

To me, at least, that suggests a level of attachment that seems to be rare for Crowley.

...Maybe he liked having someone to talk shop with? Someone who was interested? Someone engaged enough to ask questions when they didn't immediately understand?

...Anyway.

There's also the matter of the crank handle.

This thing:

This is one of the subtler changes from the book. In the book, Crowley knows Satan is coming and, desperate, arms himself with a tire iron. It's the best he can do. He's not Aziraphale; he wasn't made to wield a flaming sword.

The show, IMO, improves on this considerably. Now he, like Aziraphale, gets to face annihilation with what he was made for in his hand. And it's not a weapon, not even an improvised one like the tire iron.

He made stars with it.

[both gifs by @fuckyeahgoodomens]

If you Google 'crank handle,' you'll get variations on this:

Crank handles have been around for centuries. Consisting of a mechanical arm that's connected to a perpendicular rotating shaft, they are designed to convert circular motion into rotary or reciprocating motion.

Which is to say they're one of the 'simple machines,' like a lever or a pulley; the bread and butter of engineering. You'll also get a list of uses for a crank handle, archaic and modern. Among them: cranking up the engine of an old-fashioned car... say, a 1933 Bentley. That's what Crowley has been using his for, lately. But he's had it since he was an angel and he's still, it seems, very capable of it's angelic applications.

Stopping time. For instance.

(This is conjecture on my part, but, I like to imagine that Crowley has the ability to stop time for the same reason I can --and should-- unplug my computer before I perform maintenance on it. Time and Space are a matched set, after all, and in his designs in particular, one feeds into the other.)

I know everyone has already said this, but: I REALLY LIKE that when he needs to channel the heights of his power, he does so not with a weapon but with a tool. Practically with a little handheld metaphor for ingenuity. One from long-lost days when he made beautiful things.

(And he loved it. Still loves it --he incorporated that metaphor into the Bentley, didn't he?)

Let Aziraphale rock up to the apocalypse with a weapon: he has his own compelling thematic reasons to do exactly that. Crowley's story is different, and fighting isn't the only way to express defiance. And if you've been condemned as a demon and assumed to be destructive by your very nature, what better way than this?

He made stars. They didn't manage to take that from him.

Neither Crowley nor Aziraphale are fighters, really --they have no intention of fighting in any war. They'll annoy everyone until there's no war to fight in, for a start. But between the two, if one must be, then that one is Aziraphale. Principality of the Earth, Guardian of the Eastern Gate, Wielder of the Flaming Sword... all that stuff. Even if he'd prefer not to, it's very clear that Aziraphale can rise to the occasion, if he must.

Crowley was never that kind of angel. He wasn't a Principality. He doesn't have a sword.

...And yet.

It's Crowley who protects. He's the one who paces, who stands guard, who circles Aziraphale and glares out at the world, just daring anyone else to come near.

In light of everything else I've said here, I think that's interesting.

Obviously part of it is that Aziraphale enjoys it and, you know, good for him. He's living his best life, no doubt no doubt no doubt. But what about Crowley? What's driving that behavior, really?

Have you heard the phrase, 'loved to the point of invention'? Well, what if 'the point of invention' was where you started? What if where you end up involves glaring out at the world, just daring anyone else to come near? What is that, in relation to the bright-eyed thing you used to be?

What do we name the point to which Crowley loves Aziraphale?