#Jaye Jacobs

[bibliophilecats]

Read recently: How to Solve Your Own Murder by Kirsten Perrin, read by Jaye Jacobs and Alexandra Dowling

What I was looking for: A funny, cozy mystery.

What I liked: I liked that the main character was actually genre savy and not stupid. She noticed the things I noticed too and often also remarked on them, asked questions, followed up. I like it when they are not stupid or totally unobservant just to get them in trouble. The parallel stories, present and past, worked well together.

What I did not like: For one, the characters were not particularly deep or difficult. The developer, the rich snob, the strange rich kid, the steadfast lawyer. You do not need to spend a lot of time trying to figure out these characters.

This very likely can be attributed to the format, i.e. audiobook but there were just so many characters and family members/descendants of important characters from the past, I really had trouble keeping them straight (which removed a little drama from the reveal because I was confused).

Narrator: I liked the narration. It was a good decision choosing two different narrators for the two timelines.

Conclusion: I enjoyed myself and recommend the book if you are looking for a fun, entertaining mystery. However, I only recently learned that this is going to be a series and at the moment, I do not feel any need to read on. To me, this felt like a completed story.

[forensicated]

Alex continuing to be naughty after moving over to Holby <3

[silverfoxstole]

[pers-books]

Paul McGann stars in the forthcoming full-cast audio drama box set, Deadly Strangers, which includes a story by the writer of his very first adventure, the 1996 Doctor Who TV movie.

The Eighth Doctor (Paul McGann) and his companions Charley Pollard (India Fisher) and Lady Audacity Montague (Jaye Griffiths) have three brand-new audio adventures in store in The Eighth Doctor Adventures: Deadly Strangers, due for release in December 2024. 

The Doctor, Audacity and Charley visit many times and places, always with the best of intentions. But others have a different agenda.

An alien princess takes an interest in Puccini, a visitor to Iceland causes chaos, and a lethal interloper slips into the dreams of a sleeping population. Some strangers have deadly intent...

The first of the three stories, Puccini and the Doctor, is written by Matthew Jacobs, the screenwriter of 1996’s Doctor Who: The Movie. Jacobs was the first person to write for Paul McGann’s Doctor and this audio drama marks his first time penning any Doctor Who media since then.

In Jacobs' story, the TARDIS arrives in Milan at the turn of the twentieth century, where the time travellers encounter legendary opera composer, Giacomo Puccini (voiced by Tim McInnerny, known for Blackadder, Game of Thrones, and Doctor Who: Planet of the Ood). But the Doctor’s not the only alien around with an interest in the music of love. 

Doctor Who – The Eighth Doctor Adventures: Deadly Strangers is now available to pre-order as a collector’s edition 3-disc CD box set (+ download for just £22.99) or as a digital download only (for just £18.99), exclusively here.

The three new adventures for the Eighth Doctor and his companions are:

Puccini and the Doctor by Matthew Jacobs Women’s Day Off by Lisa McMullin The Gloaming by Lauren Mooney & Stewart Pringle

Producer David Richardson said: “How brilliant to have Matthew Jacobs return to the series to write Puccini and the Doctor – a man so dedicated that he woke up at 4am in Los Angeles to listen in to our studio recordings! He’s given us a lovely and imaginative tale, which feels very much in the spirit of the Eighth Doctor TV movie.”

Matthew Jacobs said: “This is the first time I've written a Doctor Who adventure since 1996. The Doctor is such an integral part of my life, so it's been fascinating over the years to see it grow and grow. Paul has kept the Doctor alive at Big Finish in a marvellous way and he has become so much more sophisticated as a character than when we were starting.   “I was over the moon when script editor Matt Fitton asked me to put together a story. We discussed that this version of Paul's Doctor is a bit closer to the TV movie Doctor – inquisitive, not as embittered as he gets through the Time War.   “The idea that stuck out was one where I got to deal with some unfinished business from the TV movie. In the movie, the Doctor says how sad it was that Puccini never got to finish Turandot, and it was the bane of his life towards the end. I wanted to tell a story to do with the nature of how we use music and how we search for love.”

Big Finish listeners can save money by pre-ordering Deadly Strangers in a multi-buy bundle with the previous Eighth Doctor Adventures box set, Echoes, for just £44 (collector’s edition CD + download) or £36 (download only) exclusively here.

All the above prices include the special pre-order discount and are subject to change after general release.

[lonelier-version-of-you]

Well, we got one brilliant episode of Casualty tonight!

I wasn't really sure what it was exactly going to be like when I first read about the concept of it featuring segments with real-life NHS medics, but I was happy to give it a chance because many of my favourite episodes of Casualty (and Holby) have been format-breaking in some way - and I'm glad I did, because as it turns out, it was amazing. Much like the improvised paramedic special a few months ago that I also loved, despite not being sure about the idea at first.

And this episode had two things going for it for me from the off: Faith Cadogan didn't feature, and Eli Ebrahimi was in it. I love Eli.

Seriously, getting Eli back, even if only for this episode, was absolutely wonderful. I didn't realise how much I've missed him! I'd be more than happy for him to stay on Casualty forever, haha. I'm glad he got more to do than I thought he would - when it was about halfway through the episode and he hadn't shown up yet, I was worried we'd only get to see him briefly, so I was so pleased he turned out to have quite a big role to play in the storyline.

I am a bit sad he didn't get scenes with Dylan. I would've loved to see them interact - as someone who firmly believes Eli is autistic, I'd love for him to form a friendship with Dylan. But seeing him get scenes with Stevie was just as good, because I love them both! And besides, he could quite easily come back again sometime and get scenes with Dylan then.

Given Eli was introduced once... well, once Holby felt to me like patient storylines weren't particularly centred or focused on that often... it was wonderful getting to see him being a doctor once again tonight. The scene where Yasmin hugged him for saving Amartya was so sweet.

Eli was one of the Holby characters I most wanted to cross over to Casualty - he hasn't got too much 'storyline baggage', so to speak, with him like many of the long-running characters would (A.K.A, why I'd never want Henrik to appear), and also I just happen to love him as a character and think Davood Ghadami is a great actor. So yeah, I was very happy this happened.

I appreciated the various characters featuring tonight - I'm glad Donna got a lot to do, because she's perfect for this sort of episode. (She was wonderful in Holby's NHS anniversary episode in 2018 as well.) Jaye Jacobs was as fantastic as ever, and I loved Donna's interactions with Yasmin.

Stevie's scenes were wonderful as well. Again, the way she interacted with Yasmin was so lovely - it was great to see Stevie really show her comforting side.

Even characters I normally don't like much, like Iain or Ryan, were excellent tonight! I loved Iain staying by Amartya's side for as long as he could, and Ryan helping his patient Dorothy celebrate.

Dylan and Stevie chatting about movies was fantastic. I've wanted Dylan and Stevie to become friends for a while, because I think they have quite a bit in common, so seeing them get on like this was great for me.

I thought the way the real-life commentary was used was done very well. It wasn't overdone, but there wasn't too little of it either. It was just right! :)

So, yes, I really liked this episode. Yay for Casualty, yay for the NHS, and yay for Eli Ebrahimi! ;)

[thesinglesjukebox]

TWST - "OFF-WORLD"

Our own Hannah begins the D&B t.A.T.u revival...

[7.25]

Hannah Jocelyn: This gem was produced by Mike Spencer, whose maximalist EDM work graced Rudimental and Ellie Goulding's best music in the early 2010s. "Off-World", which TWST wrote with Lauren Aquilina and Marcus Anderson, brings that sound back to life with headier lyrics. The vocal sound is SO bright it's almost fatiguing, but that adds to the song's urgency; Chloe Davis will break through time, space, and the capabilities of de-essers to be their true self. Aquilina's previous song "Empathy" was about the perils of lacking emotional boundaries, but here, dissolving boundaries is a path to romantic transcendence: "Wanna float, wanna fly, wanna try to ascend this skin/Wanna feel what you feel, but I can't feel anything." I have a whole playlist of songs that attempt to verbalize that need for all-consuming intimacy, and in those songs it often ends up toxic. Davis is aware of this, which is why "I wanna give you it all" comes with the necessary caveat "...without giving myself away." Still, the most prominent queer art of the last quarter-century depicts this ache for a reason, whether it's Genesis P-Orridge and Lady Jaye using their bodies as performance art, Neo and Trinity becoming The One in Matrix Resurrections, or everything involving Steven Universe. As "Off-World" careens into its drops, TWST approximates what that bliss must feel like. [9]

Aaron Bergstrom: A warm-hearted, techno-utopian update on "All The Things She Said," which unfortunately means it isn't quite as good. [6]

Katherine St Asaph: "All the Things She Said" deconstructed into its three elements. One: The hook -- well, one of them. Two: Ethereal yearning, and the desire to escape into the fantasy worlds and heightened emotional reality found in saturated pastorals, cities at night, dark chromed spaceships, or whatever other AMV aesthetic you personally want to get isekai'd into. Three: The frantic, obsessive pace of that yearning, which takes physical form here as a drum-and-bass break (probably the next sound to bubble back up to mainstream offline pop). [8]

Jacob Sujin Kuppermann: The Expanse AMV-type beat [8]

Jackie Powell: It's been awfully hard to figure out why "Off-World" sounds so familiar. Is it similar to a video game theme? Or is this more like the theme to the French animated series Code Lyoko that ran on Cartoon Network for a few years in the 2000s? Sonically, not exactly. But what links them all is how they fit together as science fiction, with world-hopping. TWST explained that "Off-World'' is about "a cyborg girl who descends upon Earth, yearning to break free" who finds liberation in another place. TWST is best in the pre-chorus; the yearning and the struggle are there. But I question the potency of the chorus. Where is that conflict? Where's the payoff? It seems a little monotonous compared to the rest of this three and a half minute journey. The percussive elements in that hook, however, are exhilarating. Well done, Mike Spencer. [6]

Wayne Weizhen Zhang: An epic about a cyborg girl descending upon earth and trying to find liberation, personal freedom, and authenticity sounds amazing, but it shouldn't take TWST's long statement about the track for me to understand the story. The musical experience of "Off-World" doesn't speak for itself, and despite how pretty it sounds, the track's immense ambitions are let down by the hook's flatness. [5]

Taylor Alatorre: How do I justify not slapping an automatic [10] on what is essentially Springsteenian cyberpunk? In part it's that "Off-World" suffers from its own success. The pre-chorus is substantially more stirring and anthemic than the chorus, which leads to the latter feeling like a deflation of energies, or an artificial limit on the possibilities the song wants to conjure. Songs about escape, whether from the "swamps of Jersey" or from the burdens of meatspace, are more dependent than usual on structure and momentum, on both mapping out a compelling journey and ensuring the destination lives up to expectations. But if "Off-World" falls a bit short in its goal of ferrying us to a frictionless utopia, that cliché about the journey and the destination isn't wrong here. "Meet me at the borderline" -- most of us are there already, but TWST knows how to make it sound like an undiscovered country. [7]

Will Adams: There's a point at which desire transcends the bounds of a standard crush, when the promise of being with someone seems so out of reach it becomes science fiction. They exist in a whole other world, you think. How could I ever meet them there? This is what that feels like: swirling synths that conjure the cosmic chasm separating you from them, but a breakneck d&b pulse that launches you into that open space. "Off-World" embodies the feeling of reaching out your hand, unsure whether your fingertips will ever meet theirs. [9]

Frank Falisi: The pre-chorus is the most sci-fi of all song parts, tipping into the transformation that comes next but unfolding with what came before still rattling in the air. A lot of pop invokes sci-fi imagery, but to treat the parts of a pop song as linguistic elements might suggest actual future-facing strategies of realizing a speculative electronic. In the meantime, comics-brained love-borgs promising the kiss of a world beyond this bad rock is a sweet time fizz. [6]

David Moore: A lovely take on one of my absolute favorite tropes in pop music: escaping the burden of society, and maybe corporeality altogether, in outer space! My personal standard-bearer is t.A.T.u.'s "Cosmos," which is to say I'm missing another dollop of melodrama, and I have minor quibbles with the words tilting more toward metaphor than they need to -- can I get one reference to a spaceship or something? But that's probably just a taste issue. [7]

Kayla Beardslee: Pop music is escapism, and hyperpop is pop music taken to the extreme, so why not interpret hyperpop to mean escapism so extreme that it creates an entirely new world?="margin:> [7]

Alfred Soto: Drum 'n' bass skitters! I run lukewarm on 'em, but when the track has a solid hook and okay lyrics they function like a laugh track in a pretty good sitcom. [6]

Micha Cavaseno: The last couple years have had drum & bass-style breaks wreak their revenge on pop in both the mainstream and the sub-stream (oh my god all the precious kids making "breakcore"), and it's reminded me of the worst aspects of the genre: unimaginative chopping of the same two or three loops. "Off-World" is a delightful whispy yearning little piece of leydrift, and I can't imagine it without that little baby's first junglism flourish. But I wish it had something that would make it feel properly unearthly. Of course, it's just that I don't know what I'd want that makes the sense of an unknown future so tantalizing, and that's what I'd hope this song could've gotten. [6]

Ian Mathers: I know I've heard the drum break that gets used in the chorus many times over the years, but it absolutely works for me every time. The sci-fi stuff only sorta coheres, but I'm a sucker for that too. [8]

Brad Shoup: Look, Mike Spencer did "Feel the Love". He will see heaven. I dunno that the venerable breaks contribute anything to the sci-fi metaphor--maybe they make things cyberpunk--but I still love 'em. Everything that happens between the verses is exquisite: the long bass notes that are practically detonated, TWST's perfectly urgent adult-alternative chorus (I'm hearing... Paula Cole?), and even the title itself. Just a really evocative thing to sigh. [8]

Nortey Dowuona: thank u Chloe Davis. [10]

[Read, comment and vote on The Singles Jukebox ]

[name-centrum]

Name of the day...

Jay ˎˊ˗

⊹˚₊⌁. . ⊹˚₊⌁. . ⊹˚₊⌁. .

Origin: Latin, English, French

Meaning: Cheerful or joyful; Healer or "To heal"; Victory or triumph; Jaybird

Notes: Jay is a neutral name that is typically used as masculine.

"Meaning “blue crested bird,” the name goes back at least to the late 18th century when John Jay, a founding father of the United States, was the impetus for so many babies getting his surname as a first name. Jay was at the height of popularity and a Top 100 hit during the 1950s through the mid-1970s." (Source)

Jay is often short for John, James, Jason, Jayden or Jacob.

Alternative spellings of this name are Jae and Jaye.

Nick-names: J, Jayjay, or JJ

Popularity:

[medicallymercury]

Hooke’s Law (22/07/23)

I’ve spent an excessive amount of my time today making a Sah/Teddy/Paige (mostly Sah and Teddy, this episode really has me thinking about them a lot) edit to Night Shift by Lucy Dacus.

A lot of babies in this episode! The thing about Casualty drama is that I miss it when I don’t have it and when I do, it makes me nauseous. Love Rida, love Donna! Glad to see them getting more time and I was happy to see even the characters’ whose drama wasn’t really at the front getting screen time. My walls of Sah/Teddy/Paige text (my specialty) are at the end of my ranting below the cut.

I LOVED RIDA IN THIS EPISODE!! I’m so glad we’re getting more of her I really loved seeing so much of her, I just adore her and it was great seeing a different side of her. I feel like, of all the new nurses, she has been shown as the toughest one but in this episode we got to see her struggle more.

Jaye Jacobs is brilliant, she did great in this episode and I’m also really looking forward to getting more Donna.

Not much Cam but I just enjoy him quite a lot so I appreciated what we did get!

Iain with a baby; made me think of the fact that when I made this little summary video to explain the recent plot of Casualty to my friend who doesn’t watch it and I described the characters who I felt the need to describe and I think I said that Iain “would quite like to be a dad”.

Ffion surprised me in this episode, I don’t know I feel like it made me feel more invested in her relationship with Jan.

Okay, so Paige. I’ll be honest, she’s kind of on thin ice with me because I didn’t have any strong opinions on her and then I kind of started to not like her that much with everything to do with Sah’s top surgery and then her kiss with Sah and the three weeks I had to think about it made me like her a lot more (I know that’s a weird thing to make me like her but it just got me interested). How she was today, I’m like annoyed but also I’m not surprised. The way she treated Sah was bad, but that’s just how the employees of Holby General Hospital are required to act when a kiss that “meant nothing” absolutely meant something.

Teddy is a sweetheart and maybe a little oblivious. We’re supposed to believe that at least a little while has passed since Burning Bridges and he’s only just picked up on the fact that his best friend and girlfriend are acting kind of off. I think how he is next week will give us a good idea of where this stuff with them is going. Even before we knew that we were going to get stuff dealing with the kiss I expected we’d get a moment where he realises that everyone’s acting weird (and then Sah getting too guilty).

Okay, I’m really going to sound like I’m overthinking with all my Sah thoughts but I felt like this episode really linked back to how they were back like last year and stuff. I’ve already said how that scene where they tell Teddy about the kiss reminded me of the scene from On The Edge where they told him about their dad. They didn’t exactly have all that many scenes but what we did get of them really, really got me thinking about Sah and Teddy’s early friendship, it all just felt so linked to it. I feel like I need to make some posts about my Sah and Teddy thoughts but they are so extremely interesting to me. Sah and Teddy’s initial storylines aren’t directly linked to each other (as in, while I think their friendship is relevant, it’s not their relationship at the centre of it all), they’re independent but the way it’s written throughout makes them feel like such an inherent pair that you just can’t separate the stories (see me describing them as “besties with mommy issues in opposite directions” to my friend, the stuff with Gaynor and Jools has always felt so intertwined to me because of how opposite it all is) and the fact that both characters’ first actual romance storylines have ended up being the exact same storyline just feels a little inevitable for the two of them. I don’t know, I am overthinking them and not expressing it very well but I think that’s a good summary of how this episode has me right now.

Honestly, I still don’t think polyamory is out of the window yet. The fact that Teddy knows already and both Paige and Sah’s behaviour today has me still hopeful.

[lighthouse-journal]

Leo Woodall Wikipedia: How Old Is He Now?

Leo Woodall Wikipedia: How Old Is He Now?

Leo Woodall Wikipedia: Actor Leo Woodall is a rising star in the UK. He produced “Man Down,” a short movie, as his debut feature in 2019. Soon after, he was cast as Jake Reader with Jaye Jacobs and Bob Barrett in the BBC drama series “Holby City.” His @leowoodall verified Instagram account saw a significant increase in followers due to his increased popularity. Likewise, now we can see people…

[jayther]

The correcting feature of typewriters is not what I thought I was really taken aback when I learned how this works. Links 'n' stuff The Engineer Guy's video explaining the Selectric mechnism (It also has way better high-speed footage!) https://www.youtube.com/watch?v=bRCNenhcvpw Technology Connections on Twitter: https://twitter.com/TechConnectify The TC Subreddit https://ift.tt/MwLrsia This channel is supported through viewer contributions on Patreon. Thanks to the generous support of people like you, Technology Connections has remained independent and possible. If you'd like to join the amazing people who've pledged their support, check out the link below. Thank you for your consideration! https://ift.tt/eVkmnRb Oh, and look at these wonderful patrons! Philipp Saß, Kenneth Perronne, Mark Lewin, Victor , Jared Fry, Nathan Bergey, Steve Davis, Keiran Hillcoat, David Lefton, Chris O'Dea, Tyler, Jason and Katie Corradino, Alex Gartrell, Spencer R, William O'Driscoll, Sam Ellis, Christian Bikle, Christian Czekay, Andrew Backer, Jonathan Tunnell, Forrest P, FrenchSword , Mike, David Green, Marie and Peter, Kevin Rogers, Ian Greig, Jaye Martindell, UbiquitousChris, Luke Hogan, Brian Alvarez, Kevin Marty, Bram , Paul Adamski, Anders Madsen, Josh Jones, Chrono , Pietro Gagliardi, Kornel , Becca Roughton, Romans Bajevs, Fernando Martinez, David Carpenter, Density, Joseph Shivak, Ben Douglass, Brentton Paulus, Nicholas Bellamy, Noah Kantrowitz, Lauren Nodonly, Paul Schermerhorn, Colleen Dunseath, Tashlin Familiy, Lellius Rose, andritolion, Adi , Christopher Berger, Nathaniel Kren, Simon J, Chris Dion, RICHARD CROWLEY, EmpiricalFox, Alex, Thomas Schenck, Clark Marx, Sierrajulietalpha, Rambling Nerd, James Cooper, ​, Joe Athman, Stewart Smith, Timothy Conard, Ron A Goldberg, Jon S., Mike Dean, Kyle Van Essen, Trevin Beattie, Joris Lankhorst, Dennis Hulsman, Ryan Gordon, Buddy DarDar, Steve Washington, Stainless, John F. Woods, Lianne Schroeder, Stuart Young, Sugarschild, Emerick Touilloux, Kate Bates, William Carpenter, Seren Ward, Tyler Dare, Steve Stuart, Axel Kingsley, Nuck, RangerMankin, Yuriy Taraday, Michael Kelly, Aaron Nichols, Paul Z, Anthony Castelli, Tony Drake, Zachariah Elliott, Jacob Jernigan, Isaac Oxendale, kyle, Ryan the Human, Sean King, Martin Wilson, Rad , Syswrek, Brian Roediger, Andrew Newton, Kas, S. C., Randall, Ian Washish, Neil Sly, Connor Crowley, the-alchemist , Neil Enns, Lettow , Brian Place, monoirre , Roland Roberts, Kurt Yun-Doyle, Jaap van Muijden, Anatoly Tishaninov, Dan Coster, Tyler Young, naota3k , James Hartnett, Laketri, Logan Koch, Patrick Neary, Andrew Larson, Trevor Powell, Zachary Boe, Dan Stark, Danny Griffin, Cale Sugg, Philip , Tristen Locklin, Spirit Bear, GigaDan , Simon , Rick Walker, Amir Omidi, Robert Gilbert, Christopher McKeen, Sophie Wagner, Marc Chametzky, Matt Nunes-Spraggs, Blythy, Cameron Duncan, Madellyn S, Javier Marinkovic, Dahip95, Five-Toed Sloth Bear, Kevin Copeland, ZeosPantera, Joseph Schmigel, Harald Dehner, LegoZEV via YouTube https://www.youtube.com/watch?v=YE0U018Copw

[bonobochick]

Midsomer Murders, "A Vintage Murder."

[squishmittenficfan]

Holby City - Flying Solo

Serena Campbell

[socket79]

Serena Campbell | Holby City 21x14 - Ask No Questions

[oughttobeclowns]

Review: The Great British Bake Off - The Musical, Everyman Theatre Cheltenham

Review: The Great British @bakeoffmusical, @Everymanchelt

A review of the sweetly enjoyable The Great British Bake Off – The Musical at the Everyman Theatre Cheltenham that avoids any mention of soggy bottoms “Where would a gin be without its tonic Why did the Krankies become iconic” Jake Brunger and Pippa Cleary have form with their commitment to theatre outside of London – their take on The Secret Diary of Adrian Mole Aged 13 ¾ premiered at…

[lonelier-version-of-you]

So... wow, just... wow. And that's a complimentary "wow", because, though intense, Casualty tonight was an excellent piece of television.

Such a fantastic ep all around. Wonderfully written by Rebekah Harrison, and great acting all throughout. I don't know how much I'll have to say for it, as I'm struggling a bit with putting words together at the moment, but I'll try.

The inter-connecting storyline of the women's march was brilliantly done. I loved how it spanned across the ep, affecting almost every character's story in some way or another. I thought it was really powerful.

Donna, as usual, was a highlight of the episode. I've been very pleased that Donna has confessed at this point in the storyline - I don't think it would have worked to continue the "will she or won't she" thing for much longer. And Jaye Jacobs keeps out-doing herself when it comes to acting. Tonight felt like a perfect showcase of her talent. Donna's phonecall to Mia at the start almost made me cry.

I thought they did really well at tying Donna's storyline into the episode while also involving her in the story about the women's march. Donna feels like a proper leading character of Casualty now, which I'm very happy about, especially as I almost never felt like she was given that kind of prominence in her second stint on Holby.

I also loved Donna and Max kissing, because I think there is so much potential in this relationship! Even if it's just a short fling it could add a lot to both their storylines, and they're both characters I love, so yeah. I like a bit of personal drama on Casualty every now and then when it's done well, so hopefully this will be. I'm so intrigued by what it could mean that I'll even forgive how it feels - at least to me - to have sort of come out of nowhere. It's still believeable, especially with the stress they're both going through, I just think there could have been a bit more buildup.

I felt very sorry for Dylan being left alone waiting for Donna, though. I'm not sure how I feel about the possibility of this being a love triangle, it depends on how it's handled. I just hope that whatever happens, Dylan and Donna get to still be close, because their dynamic is fantastic.

Also, I feel like Dylan/Max/Donna is likely to be a more usual media love triangle with all the drama that comes with that, because sticking Dylan and Max at opposite sides of a love triangle feels like something the show would love to do... so are we going to get two love triangle stories at once, or is Teddy/Paige/Sah going to lead to a polyamorous relationship? I guess we'll have to wait and see.

Rida was brilliant, which is no surprise. I really, really like Rida, she's such a good character. And Sarah Seggari's acting was great in this ep, again, as usual!

Rida's family friend Mariam showing up makes me wonder if we're about to get some exploration of Rida's family. I think that would be great. I've been waiting for more backstory for her for months.

The scene near the end with Jodie sitting next to Rida on the hospital bed, and their conversation about the discrimination they face as women, was possibly the best part of the episode. Like just about everything else, it was so good.

The patient stories were great. I particularly adored Jan's lovely assurance to the woman who hadn't gone to the march - because other attendees had made her feel unwelcome for being trans - that not everyone thinks that way, feminism is for all women, and that Jan would be glad to march alongside her. That was wonderful.

Stevie didn't get as much to do tonight as some other characters, but she was still great. I just love Stevie.

I did think the useage of the incidental music was a bit much tonight, but it's not like it took anything away from my appreciation of the ep, I still loved it.

Jodie was excellent as well. Anna Chell is such a good actress! The scene where Jodie started crying and Max hugged her was particularly emotional.

I almost didn't realise Faith was there, which was nice. She didn't do much in this episode that couldn't have been done by any other character, she was basically in the background, and while I'd rather she leave entirely I still appreciated this.

There weren't many Jacob scenes tonight either, but I get why, because the episode was really focused on other characters, and it was still nice to see him anyway. :)

So, yeah, tonight was fantastic. Good job, Casualty! Next week, we get two eps, both of which seem to be very Faith-centric from what I've seen... but they also seem very Max and Jodie-centric, which is great, because they're two of my favourite characters at the moment.

[pauseliveaction]

https://pauseliveaction.wordpress.com/holby-city-behind-the-screen/ (via Holby City Book)