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I love love LOVE how the mockumentary style of What We Do In The Shadows moves from being a framing device to an actual storytelling one

The crew either intentionally or unknowingly obscuring certain details of the story to create a quasi-unreliable narrator that changes the viewer's perspective on events until the characters just have a straight talking scene that suddenly opens up the whole picture is SO fun and while I think they COULD'VE pushed it further, that would've fundamentally changed the show. As it stands it's just a subtle detail I enjoy so much

I think my favourite example of it is Laszlo and Nadja's polyamoury

The first few times it comes up with Gregor, it's very much framed as though Nadja were cheating on Laszlo (in the pilot she definitely acts like she's cheating, and I think that was maybe the intention before they dropped that premise in the show proper) - until the reveal is dropped that Laszlo, actually, doesn't give a flying fuck about her sleeping with someone else, but rather that the guy she's sleeping with consistently makes HIS WIFE (!!!) upset.

And like. This isn't a reveal to Nadja. She knows he doesn't care - she knows HE sleeps around, too. It's a reveal to the viewer, and because it's an in-universe show, it gives the impression that the documentary crew either intentionally framed it as cheating for the drama, or just didn't know that they had an open marriage and assumed it WAS drama and rolled with it

And aside from being just a fun aspect of the show it's also interesting commentary on the nature of documentaries/reality TV and how much they leave out just by their very nature of being A. Just a small snippet of whatever situation and B. Directed and presented by humans through their inherently subjective lense

It's just good stuff

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Kate Bush

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The only thing that makes me crazier than Plodding On and Stage/Fright is the way the two of them work together.

Spoilers for both under the cut, just in case.

So, the thing about comedy and horror are they're the two most self-referential genres in the world. They're in constant conversation with everything that came before them, and also with their audiences. 'Hey, remember this?' they say. 'You saw when [a house fell on Buster Keaton and he was left standing in the window]/[David Warner got his head cut off by a plate of glass in The Omen]/etc. We saw it too! Here's what it made us think.' And Inside No 9, which essentially falls into both genres, does that all the time. On top of that, it's written by Reece and Steve, and I think a lot about that description of all TLoG guys as 'conscious mythologisers'- obsessive geeks making things that are deliberately intended to inspire obsessive geekery. They are and always have been very tuned in to the general response to their work and to their fanbase in particular.

Which is why it makes me feral that they did *that* with Plodding On. Like, it makes sense that the last episode, the victory lap, would be a meta episode. It makes sense that it would tie in to a lot of other episodes. It even makes sense that they would bring back the themselves-as-characters bit from Deadline, if they were going to go meta. But there were *so many ways* they could have done that. It could have been about the Curse of the Hare, and how IN9 has been a haunted production the whole time. They could have done a Tristram Shandy-esque comedy episode about them trying to write the final episode. But no. They really sat down and went 'As far as the fans are concerned, the scariest, most heart-wrenching thing we can do is say we're not going to work together anymore and have a big fight about it'. There's no poltergeist in the studio, no threat of the haunting breaking through into the viewers' living room ala Ghostwatch; the Big Scare of the episode is Steve saying to Reece, "I don't even know if we are friends anymore." And it's *devastating*.

And then Stage/Fright comes along to make it all better.

Because Stage/Fright? Does exactly the opposite of Plodding On. Stage/Fright absolutely does use the guys-playing-themselves bit to do some classic meta horror, to put the ghost right there with you in the theatre, to make you complicit in summoning it, even. But it also tells you right up front 'Every ghost story is really a love story'. The *point* of the show isn't the fun ghost train stuff in the second half; the point is that we get to see *this* Steve (in contrast to Plodding On's Steve) being devastated at losing Reece, and then thrilled to reunite with him. They're dead at the end of Stage/Fright, but the ending isn't that they die; it's that they're ghosts haunting the same theatre, singing and dancing and telling bad jokes and doing the thing that they love. Together. Ever after. *That's* the final button they put on Inside No 9.

And the thing is, both the episode and the stage show presumably work fine if you're a casual fan. They're well written, the jokes are good, the emotional arcs work. But it will never stop making me crazy that those emotional arcs are consciously, deliberately *laser targeted* at the people who are there for Reece and Steve, before they're there for the show even, who are invested first and foremost in them and their partnership. It's such a bold, weird statement to make that what the end of your show is about, and I love so much that it's what they did.

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The year is 2056. The 30th doctor is David Tennant. He took over from David Tennant. His companion is played by David Tennant. The villain is David Tennant as David Tennant. The showrunner is David Tennant. You hear a knock on the door. It's David Tennant. He gives you a pocket watch. You open it and remember who you are. You were David Tennant all along.

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Holy smokes, he's so hot. I don't think I've seen him comb his hair like that. The little bit of grey there and the brown of his skin against the white shirt. Take me now.

https://www.instagram.com/batmerryig/

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I Like To Watch / Trixie & Katya ↳ Trixie Mattel & Katya React to Young Royals

The way Trixie doesn't hesitate, at either moment lol

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found some random shit while working on some gifs, and because now i know this, you have to as well:

"Above average at hypnosis"

"Nandor the Incorrigible"

"...wives and one hundred eight..." children?

it's the last bit that has me screaming, because i was off by one. just one. i was sure he had 107 lol XD

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Kayvan's pitch for a spin off: A nandermo podcast telling stories from Nandor's youth in Al Qolnidar. It involves killing his twin Tandor.

source: TV TOPICS

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Kayvan Novak and Matt Berry attend FX's "What We Do in the Shadows" Los Angeles FYC Event at Disney FYC House at the DGA Theater on June 03, 2025 in Los Angeles, California. 

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GUYS GUESS WHAT

GUESS GUESS

I GOT MY OFFICIAL AUTISM DIAGNOSIS!!!!!!

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"A Street in Winter" - Jacob Schikaneder, 1905.

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Lonely nights.

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"The world is happening in a room that I can't enter, life is happening in a gathering I am not invited to. Being unwanted is a language I am fluent in."

— Fatima Amir Bilal

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Feeling so incredibly validated that my head canon of the past Doctors still “living” in the current Doctor’s subconscious, being catty bitches who bicker 24/7 and are probably backseat driving, has been canonized @atalanta133

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Genuinely the best part of the I, TARDIS book was the many nicknames she gave The Doctor's companions!

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It was the Doctor who first called Romanadevoratrelundar "Romana." And she didn't even like that name at first, claiming she'd rather be called "Fred." She went by "Mana", as a kid, and later goes by "Trey" when she needs a new quick name.

And yet.

She keeps calling herself Romana. Even after she leaves the Doctor. Even in E-Space. Even on Gallifrey. Even as president. Even during a war that destroys reality. She's always Romana. Not "Mana", not "Fred", not "Trey"

I think that, more than anything else, shows how much the Doctor means to her

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imagine: you get your memories back after years of amnesia to find out your whole species is dead and earth doesn’t exist anymore. that the only thing left of your culture is your weird ex and his busted honda civic that barely even works that he stole from the government when he was 13. And he’s been taking members of an alien species for trips in his honda civic and they’re all like “woah it’s so cool” and you get upset because it’s NOT COOL it’s a honda civic, the turn signals don’t even work “wow it can go up hills” yeah OF COURSE IT CAN GO UP HILLS EVERY CAR COULD DO THAT. but they’ve never seen a car before so everything it does is the coolest thing ever. And your ex’s only tool is a fucking screwdriver which is somehow also cool to this dumbass alien species even though it’s a fucking screwdriver so you just look like an idiot screaming about how none of this is even cool it’s actually really shitty but your whole planet is gone so you can’t even prove it but also you’ve had a constant drumming sounding in your head since you were 10 slowly driving you insane. I would become evil too.