#Catherine Smith

[shy-girl04]

Eve to the Serpent

Stretched on tiptoes, knowing

your eyes are flickering over me –

at my sex especially – look

how I twist the stalk

and snap – pluck it carefully,

because it is precious,

unblemished, and wrong.

I’ve never been more curious

than this. I think about the skin,

how my teeth will rip into it,

about the flesh, how clean

and white it will be, how luscious.

You told me, didn’t you? –

it will be the most delicious thing

I’ve ever put in my mouth,

its juice a drizzle of nectar.

It will do me so much good.

I might just stand here with it

in my hand, while you writhe

and sweat in your ornamental skin,

your tongue quivering. This could be

the longest afternoon of our lives.

By Catherine Smith

[expelliarmus]

[icklewolfiekins]

you ever learn something you wish you didn't? I, for example, just learned that between 2008 and 2015 not a single episode of Doctor Who aired that was written by a woman. Between The Sontaran Stratagem, a story with David Tennant as the Doctor, and The Woman Who Lived, a Peter Capaldi story, not a single episode was written by a woman.

[tonsillessscum]

[denimbex1986]

'...“It’s fun playing bad, but actually he’s not,” the actor says, smiling as he reflects on his character, Crowley. “He’s a villain with a heart. The amount of really evil things he does are vanishingly small.”

...As it always has, “Good Omens” dissects the view of good and evil as absolutes, showing viewers that they are not as separate as we were led to believe growing up. Aziraphale and Crowley’s long-standing union is proof of this. The show also urges people to look at what defines our own humanity. For Tennant — who opted to wear a T-shirt emblazoned with the words “Leave trans kids alone you absolute freaks” during a photocall for Season 2 — these themes are more important now than ever before.

“In this society that we’re currently living in, where polarization seems ever more present, fierce and difficult to navigate. Negotiation feels like a dirty word at times,” he says, earnestly. “This is a show about negotiation. Two extremes finding common ground and making their world a better place through it. Making life easier, kinder and better. If that’s the sort of super objective of the show, then I can’t think of anything more timely, relevant or apt for the rather fractious times we’re living in.”

“Good Omens” is back by popular demand for another season. How does it feel?

It’s lovely. Whenever you send something out into the world, you never quite know how it will land. Especially with this, because it was this beloved book that existed, and that creates an extra tension that you might break some dreams. But it really exploded. I guess we were helped by the fact that we had Neil Gaiman with us, so you couldn’t really quibble too much with the decisions that were being made. The reception was, and continues to be, overwhelming.

Now that you’re no longer bound by the original material that people did, perhaps, feel a sense of ownership over, does the new content for Season 2 come with a sense of freedom for you? This is uncharted territory, of sorts.

That’s an interesting point. I didn’t know the book when I got the script. It was only after that I discovered the worlds of passion that this book had incited. Because I came to it that way, perhaps it was easier. I found liberation from that, to an extent. For me, it was always a character that existed in a script. At first, I didn’t have that extra baggage of expectation, but I acquired it in the run-up to Season 1 being released… the sense that suddenly we were carrying a ming vase across a minefield.

In Season 2, we still have Neil and we also have some of the ideas that he and Terry had discussed. During the filming of the first one, Neil would drop little hints about the notions they had for a prospective sequel, the title of which would have been “668: The Neighbour of the Beast,” which is a pretty solid gag to base a book around. Indeed there were elements like Gabriel and the Angels, who don’t feature in the book, that were going to feature in a sequel. They were brought forward into Season 1. So, even in the new episodes, we’re not entirely leaving behind the Terry Pratchett-ness of it all.

It’s great to see yourself and Michael Sheen reunited on screen as these characters. Fans will have also watched you pair up for Season 3 of “Staged.” You’re quite the dynamic duo. What do you think is the magic ingredient that makes the two of you such a good match?

It’s a slightly alchemical thing. We knew each other in passing before, but not well. We were in a film together [“Bright Young Things,” 1993] but we’d never shared a scene. It was a bit of a roll of the dice when we turned up at the read-through for “Good Omens.” I think a lot comes from the writing, as we were both given some pretty juicy material to work with. Those characters are beloved for a reason because there’s something magical about them and the way they complete each other. Also, I think we’re quite similar actors in the way we like to work and how we bounce off each other.

Does the shorthand and trust the two of you have built up now enable you to take more risks on-screen?

Yes, probably. I suppose the more you know someone, the more you trust someone. You don’t have to worry about how an idea might be received and you can help each other out with a more honest opinion than might be the case if you were, you know, dancing around each other’s nervous egos. Enjoying being in someone’s orbit and company is a positive experience. It makes going to work feel pleasant, productive, and creative. The more creative you can be, the better the work is. I don’t think it’s necessarily a given that an off-screen relationship will feed into an on-screen one in a positive or negative way. You can play some very intimate moments with someone you barely know. Acting is a peculiar little contract, in that respect. But it’s disproportionately pleasurable going to work when it’s with a mate.

Fans have long discussed the nature of Crowley and Aziraphale’s relationship. In Season 2, we see several of the characters debate whether the two are an item, prompting them to look at their union and decipher what it is. How would you describe their relationship?

They are utterly co-dependent. There’s no one else having the experience that they are having and they’ve only got each other to empathize with. It’s a very specific set of circumstances they’ve been dealt. In this season, we see them way back at the creation of everything. They’ve known each other a long time and they’ve had to rely on each other more and more. They can’t really exist one without the other and are bound together through eternity. Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms, I think that’s fair to say.

Yet fans are trying to do just that. Do you view it as beyond romantic or any other labels, in the sense that it’s an eternal force?

It’s lovely [that fans discuss it] but you think, be careful what you wish for. If you’re willing for a relationship to go in a certain way or for characters to end up in some sort of utopian future, then the story is over. Remember what happened to “Moonlighting,” that’s all I’m saying! [Laughs]

Your father-in-law, Peter Davison, and your son, Ty Tennant, play biblical father-and-son duo Job and Ennon in Episode 2. In a Tumblr Q&A, Neil Gaiman said that he didn’t know who Ty’s family was when he cast him. When did you become aware that Ty had auditioned?

I don’t know how that happened. I do a bunch of self-tapes with Ty, but I don’t think I did this one with him because I was out of town filming “Good Omens.” He certainly wasn’t cast before we started shooting. There were two moments during filming where Neil bowled up to me and said, “Guess, who we’ve cast?” Ty definitely auditioned and, as I understand it, they would tell me, he was the best. I certainly imagine he could only possibly have been the best person for the job. He is really good in it, so I don’t doubt that’s true. And then my father-in-law showed up, as well, which was another delicious treat. In the same episode and the same family! It was pretty weird. I have worked with both of them on other projects, but never altogether.

There’s a “Doctor Who” cameo, of sorts, in Episode 5, when Aziraphale uses a rare annual about the series as a bartering tool. In reality, you’ll be reprising your Time Lord role on screen later this year in three special episodes to mark the 60th anniversary. Did you always feel you’d return to “Doctor Who” at some point?

There’s a precedent for people who have been in the series to return for a multi-doctor show, which is lovely. I did it myself for the 50th anniversary in 2013, and I had a wonderful time with Matt [Smith]. Then, to have John Hurt with us, as well, was a little treat. But I certainly would never have imagined that I’d be back in “Doctor Who” full-time, as it were, and sort of back doing the same job I did all those years ago. It was like being given this delightful, surprise present. Russell T Davies was back as showrunner, Catherine Tate [former on-screen companion] was back, and it was sort of like the last decade and a half hadn’t happened.

Going forward, Ncuti Gatwa will be taking over as the new Doctor. Have you given him any advice while passing the baton?

Oh God, what a force of nature. I’ve caught a little bit of him at work and it’s pretty exciting. I mean, what advice would you give someone? You can see Ncuti has so much talent and energy. He’s so inspired and charismatic. The thing about something like this is: it’s the peripherals, it’s not the job. It’s the other stuff that comes with it, that I didn’t see coming. It’s a show that has so much focus and enthusiasm on it. It’s not like Ncuti hasn’t been in a massive Netflix series [“Sex Education,”] but “Doctor Who” is on a slightly different level. It’s cross-generational, international, and has so much history, that it feels like it belongs to everyone.

To be at the center of the show is wonderful and humbling, but also a bit overwhelming and terrifying. It doesn’t come without some difficulties, such as the immediate loss of anonymity. It takes a bit of getting used to if that’s not been your life up to that point. I was very lucky that when I joined, Billie Piper [who portrayed on-screen companion, Rose] was still there. She’d lived in a glare of publicity since she was 14, so she was a great guide for how to live life under that kind of scrutiny. I owe a degree of sanity to Billie.

Your characters are revered by a few different fandoms. Sci-fi fandoms are especially passionate and loyal. What is it like being on the end of that? I imagine it’s a lot to hold.

Yes, certainly. Having been a fan of “Doctor Who” since I was a tiny kid, you’re aware of how much it means because you’re aware of how much it meant to you. My now father-in-law [who portrayed Doctor Who in the 80s] is someone I used to draw in comic strips when I was a kid. That’s quite peculiar! It’s a difficult balance because on one end, you have to protect your own space, and there aren’t really any lessons in that. That does take a bit of trial and error, to an extent, and it’s something that you’re sometimes having to do quite publicly. But, it is an honor and a privilege, without a doubt. As you’ve said, it means so much to people and you want to be worthy of that. You have to acknowledge that and be careful with it. Some days that’s tough, if you’re not in the mood.

I know you’re returning to the stage later this year to portray Macbeth. You’ve previously voiced the role for BBC Sounds, but how are you feeling about taking on the character in the theater?

I’m really excited about it. It’s been a while since I’ve done Shakespeare. It’s very thrilling but equally — and this analogy probably doesn’t stretch — it’s like when someone prepares for an Olympic event. It does feel like a bit of a mountain and, yeah, you’re daring to set yourself up against some fairly worthy competition from down the years. That’s both the challenge and the horror of doing these types of things. We’ve got a great director, Max Webster, who recently did “Life of Pi.” He’s full of big ideas. It’s going to be exciting, thrilling, and a little bit scary. I’m just going to take a deep breath.

Before we part ways, let’s discuss the future of “Good Omens.” Gaiman has said that he already has ideas for Season 3, should it happen. If you were to do another season, is there anyone in particular you’d love to work with next time around or anything specific you’d like to see happen for Crowley?

Oh, Neil Gaiman knows exactly where he wants to take it. If you’re working with people like Gaiman, I wouldn’t try to tamper with that creative void. Were he to ask my opinion, that would be a different thing, but I can’t imagine he would. He’s known these characters longer than me and what’s interesting is what he does with them. That’s the bit that I’m desperate to know. I do know where Crowley might end up next, but it would be very wrong if I told you.

[At this point, Tennant picks up a pencil and starts writing on a hotel pad of paper.]

I thought you were going to write it down for me then. Perhaps like a clandestine meeting on a bench in St James’ Park, but instead you’d write the information down and slide it across the table…

I should have done! I was drawing a line, which obviously, psychologically, I was thinking, “Say no more. You’re too tempted to reveal a secret!” It was my subconscious going “Shut the fuck up!”

[sconesfortea]

Blue & Red in Doctor Who: part 1 [part 2 here]

So I noticed that 15's Sonic was red in Rogue, and that sent me fully down the rabbit hole. So this is part 1 of some rambly connections.

In S1 (2005) the time vortex was blue for journeys into the past and red for journeys to the future.

In S2, 10 usually wears a brown tie with a white/light shirt in the present/future, and a blue shirt with no tie in the past.

In S4, 10 usually wears his blue suit in the future and keeps the brown for past adventures.

In S5/6, 11 wears a blue bowtie, braces, & shirt details when they're in the past, which are all red when they're in the future.

In S11/12, 13's tshirt is usually red/burgundy in the past and blue in the future.

[brekkerholmes]

i love the twelfth doctor because he's like. i'm really old and idgaf anymore. you bitches deal with that. also i play the guitar and have the coolest glasses. also deal with that.

[winter-seance]

Doctor Who | 4.12 The Stolen Earth

[providence-park]

"Now then, you lot. Sarah, hold that down. Mickey, you hold that. Because you know why this Tardis always is always rattling about the place? Rose, that there. It's designed to have six pilots, and I have to do it single handed. Martha, keep that level. But not any more. Jack, there you go. Steady that. Now we can fly this thing. No, Jackie. No, no. Not you. Don't touch anything. Just stand back. Like it's meant to be flown. We've got the Torchwood Rift looped around the Tardis by Mister Smith, and we're going to fly Planet Earth back home." "Right then. Off we go."

DOCTOR WHO (2005 - )

S4 - Ep13 | JOURNEY'S END

[ghost-bison]

Fourteen/Noble-Temple Family Headcanons:

-that one time he lets Rose into the TARDIS, she finds polaroids of his advendures with his companions, and sees the funniest pictures of Ten and Donna acting stupid together

-Rose also sees pics of Rose Tyler and she listens to Fourteen talk about her passionately

-when Rose shows the pics to her mom, Donna gets emotional about seeing Ten's baby face again, and she tells her about their adventures

-Fourteen and Donna fight about the real story behind each picture because Donna tends to exaggerate how mature she was compared to Ten, whereas Fourteen tends to underestimate how careless Ten could be

-Sylvia keeps cooking for Fourteen like a grandmother because "he looks like a stick". He pretends to be annoyed but he secretely likes it when the Noble-Temples pamper him

-thursday night is family game night. He lets everyone win except for Donna and it becomes a competition between them

-Shaun gets him into football and they watch the World Cup together almost religiously, getting crazy in front of the television together

-speaking of: the Noble family know the Olympics is a sacred time of the year for Fourteen and they respect that

-he poses with Rose's creations for her pictures on Etsy

-he often sneaks Wilfred's wheelchair into the TARDIS and takes him to see the stars

-him, Rose and Shaun sit together on the sofa watching Donna and Sylvia get into arguments and taking bets on who's gonna get the last word several times a week

-Fourteen bets on Sylvia everytime out of fear

-he becomes a teacher of quantum physics at Univ and the students absolutely love him

-Donna teases him because she knows he has a crush on that other teacher

-but then she gets into full protective dad mode when he asks the Doctor out on a date

-he takes a membership at a reading club and annoys everybody because he can't sit still for more than five minutes and gets into heated arguments with that one member about Shakespeare facts

-they have barbecues with Martha and Mickey

-and the Doctor apologizes for how he treated them back in the day (but especially Martha)

-eventually, Fourteen contacts Jack again and he joins in for the occasional barbecue. After about five minutes being reunited Jack starts calling Fourteen a DILF (we all know he would)

-Donna, Melanie, Martha and Fourteen go to the spa together from time to time as a girl treat

-Rose gets a cat and the cat is obsessed with Fourteen

-and sometimes it sneaks into the TARDIS and they all spend 30 minutes trying to lure him out with treats

-Fourteen sometimes cooks for the family and his cooking skills are incredible (when he manages not to set anything on fire)

-when he and Donna go to Unit work parties (she takes him there as her plus one but he doesn't really work there) they spend the whole evening stuck together gossiping

-and when people come to them to ask about their adventures they start bullshitting in sync and it's just so hard for them not to laugh when they look at each other

-then during the evening they have their own little dance routine

-the TARDIS is decorated with fairylights, stuffed animals made by Rose, little pillows, garlands and pictures

[shy-girl04]

Albrecht Durer - Duerers Paradiesschlange 1507

Eve to the Serpent

Stretched on tiptoes, knowing

your eyes are flickering over me –

at my sex especially – look

how I twist the stalk

and snap – pluck it carefully,

because it is precious,

unblemished, and wrong.

I’ve never been more curious

than this. I think about the skin,

how my teeth will rip into it,

about the flesh, how clean

and white it will be, how luscious.

You told me, didn’t you? –

it will be the most delicious thing

I’ve ever put in my mouth,

its juice a drizzle of nectar.

It will do me so much good.

I might just stand here with it

in my hand, while you writhe

and sweat in your ornamental skin,

your tongue quivering. This could be

the longest afternoon of our lives.

Catherine Smith

[expelliarmus]

[schizolabratt]

These were the three best TARDIS duos, hands down.

[too-funky]

Tenth Doctor | Journey's End

[bethanydelleman]

Ranking Jane Austen heroines/women on how good of a mother they’d be?

As with the men, I think they would all be good mothers, though in different ways.

Elizabeth Bennet: Soccer mom, she wasn't given the opportunity to have a structured education herself, it will be different for her kids. She's hiring the best governess she can find (after Darcy does a full background check), she's encouraging her kids to do extracurriculars, they will speak six languages that she doesn't understand or else! Has a minor panic attack if she says anything that sounds even remotely like something either of her parents would say.

Jane Bennet: Gentle mom, she cannot imagine punishing her children, she just has a killer disappointed face (she is unaware of this). Encourages her children to always try to understand both sides of the story. Will eventually fall for a lie one of her children tells and be devastated when she figures out the truth.

Anne Elliot: Perfect mother, there is indeed no one so proper, so capable as Anne. She has also watched her sister do everything wrong and she knows exactly how to do it right.

Emma Woodhouse: Scatterbrained mom, makes a resolution to teach her daughter fancy work but then gets distracted and the sampler is left half finished. Promised to read with her son but they only make it halfway through the novel. Good thing she hired an excellent "Miss Taylor" to pick up the slack! And despite her occasional screw-ups, her kids love her to pieces. They just better be on guard when they hit 18 and she starts trying to marry them off.

Marianne Dashwood: Crunchy mom, or whatever the Regency period equivalent would be. She wants her kids to feel the dead leaves between their toes, she encourages them to write poetry and play moving ballads. Otherwise, a lot like her own mother (they have very similar personalities)

Elinor Dashwood: I-Say-I-Love-You-With-Food Mom, she may not be exactly emotionally available, but she orders her daughter's favourite meal when she's sad and there are tiny hearts in the stiches of her son's clothes. She makes sure her kids are provided for, educated, and healthy. When she asks if they are hungry, they know she's saying, "I love you."

Fanny Price: Nurturing mom, she will be everything for those children that Edmund and William were to her, but nothing like Sir Thomas, Lady Bertram, Mrs. Norris or her own parents. She has a good deal of experience from nursing her own siblings so it's a pretty smooth beginning.

Catherine Morland: Overconfident mom, Catherine has been there and done that, she has six younger brothers and sisters after all, she's READY! This will be easy! All you have to do is make sure the baby is fed, washed, changed, and napped... oh... it's a lot harder to do this when you have only slept for 2.5 hours last night... (I know she would have servants, but still, being a new mother is tough!)

Bonus: Jane Fairfax tries to keep Frank from spoiling the kids, but it is literally impossible. He keeps buying them huge presents and then she would be the bad guy for saying no. Also, she knows that Frank lost their child in Kensington Gardens (twice), that's why she always insists he take a footman now.

Bonus bonus: Harriet Smith has a special box where she keeps all the 'treasures' her kids collect. It is her most precious possession.

[capybaraonabicycle]

Following the ranking by @master-missysversion, who among these actors (who one could argue played some version of the Doctor during the nuwho run) do you believe could pull the role of the Master off best?

Feel free to leave your complete ranking in the tags (or head over to @master-missysversion 's original post for that discussion)

Propaganda for my own poll under the cut

Tate!Master (beautiful fics by @kisstherainwriting)

Gill!Master (amazing fanart by @rosenkranz-does-things)

Whittaker!Master (lovely gifs & concept by @coveredwithsnow)

13!Master, 12!Master, 11!Master and 10!Master (swap AU of perfection featuring various incarnations by @p1neapplerum)

... was this just a ploy to promote lovely art? Possibly, you decide <3