#i do think agatha and clara would

[becausegoodheroesdeservekidneys]

Doctor Who, but Chronologically 30

Okay OKAY so we have just watched the Christmas Armistice of 1914, but now we move on to one of my favourite episodes of ALL TIME. In fact, full disclosure, this is one of my favourite TV episodes of anything ever. This is one of my go-to options for comfort TV. If I’m ill and sad and cwtched up on the sofa, this is in the Emergency Elanor First Aid Kit. I love it. I love it so much that I will not be quoting any of it, because if I do, I will be posting the whole script. You cannot imagine the extent to which I had to sit on my hands so I wouldn’t do a full episode review accidentally.

It is 1926, my friends, and this is the Unicorn and the Wasp.

Tennant and Donna are back!!!! DREAM TEAM. We haven’t seen them since they were running around Pompei in episode one, my lord that was a while back now. And Jesus, what a return to quality. The companions have been failing the Sexy Lamp Test for so long. The only break was Martha in the Human Nature two-parter, and that was an emotional wringer. But here!!! Donna!!! You could NEVER replace her with a sexy lamp. She is 1000% the co-protagonist. She and Tennant are best friends and they love each other intensely and platonically and they travel through time and SOLVE CRIME while being, at all moments and seconds of every single scene, two halves of a whole idiot, and it is joyful and wonderful and amazing.

Okay okay so

They land in a country manor in England, a part expertly played by Llansannor Court in Wales if I’m not much mistaken, and the interiors are 1000% Tredegar House because I know my Welsh country manors. The Doctor and Donna get ludicrously excited about going to a garden party in 1926, all giggly. They even go and get dressed up, by which I mean Donna does – she exits the TARDIS and gives a twirl.

“What do you think?” she teases. “Flapper, or slapper?”

“Flapper, definitely,” the Doctor beams. “You look lovely.”

… I am having violent flashbacks to Capaldi calling Clara ugly.

Anyway they meet Agatha Christie in time for an honest-to-god murder mystery. It’s fucking phenomenal. It’s silly and camp and the murderer is a giant wasp, except in true Agatha Christie style, there’s a complicated twist involving a secret pregnancy, an expensive gem, the hot young woman (played by her from Rogue One) actually being an accomplished jewel thief impersonating a socialite, and a prodigal reverend. One of these people is the aforementioned giant wasp, except the joyful sci-fi plot is really running around a playground with a balloon and giggling, so it has been primed to kill people in libraries with lead piping like a Cluedo game.

I literally cannot list every moment I love. It’s just too many. So I shall try to name check some top moments:

“MAIDEN”

“It was a good once”

“I am Inspector Smith from Scotland Yard, and Miss Noble is the plucky young girl who helps me”

“Copyright Donna Noble”

“Major snap out of it. No, right out of it –“

“HOW IS HARVEY WALLBANGER ONE WORD”

The ENITRE reveal scene holy shit

“Ah, let’s see, it’s filed under C” *box contains a Cyberman part, a Carrionite egg, a bust of Caesar, and cables*

Fuck. I just. *clenches fist* I love this episode so damn much

Okay so plot threads. Well! No new info about Donna’s back, unfortunately, so nothing to tick off there. Only, as ever, things to add. There’s a scene where Donna is comforting Agatha (and finding vital clues), and she explains that her last partner ran off with a giant spider. That’s a hell of a thing. Oh, also Donna made her second reference to bees disappearing. But that’s it.

Fuck me but I would burn so much Capaldi for so much more Tennant/Donna.

Anyway the list of plot threads is now going under a read more, Christ on wheels

“She” (an unknown person) is returning (perhaps River returned as Missy. Maybe Me? Maybe Clara???!)

There is something on Donna’s back

An entire planet, Pyrovilia, just… disappeared, somehow. (Maybe because the TARDIS is exploding??? Saturnine was also lost, and that WAS because of the TARDIS exploding. The lion man’s planet was also lost but he was a bit of a knob about it if I’m honest.)

Amy is maybe dead (she’s not)

The Doctor has been cubed (he’s out, but how?)

River is possibly blown up  (unless she’s Missy)

The TARDIS has blown up  (It’s fine now. Except it’s sort of melting now because it’s corrupted, but it’s fine again)

The universe appears to have ended  (the universe is back again)

The Doctor has employed(?) Nardole

(And Nardole was “reassembled???” Nardole had glass nipples and invisible hair?? WHAT THE FUCK IS HE)

There’s a vault in the TARDIS and it contains Missy but we don’t know why (sometimes she knocks for the bants)

What has happened to all these companions and where are the new ones coming from?

There’s an immortal Viking girl now. Her name is Me and she’s now looking after the people the Doctor abandons

What’s With The Silence?

Why was Rory entirely unconcerned by the entire world suddenly going silent when that is Not Normal and should have been, at the very least, extremely disconcerting?

What did the Doctor do to Queen Lizzie One?

Who is Captain Jack Harkness? (Is he the one who gave the companions a warning about the lone cyberman?)

Why is Amy seeing a one-eyed woman in a vanishing window?

What’s with the Doctor’s future involving getting shot by an astronaut?

Is Amy pregnant and why is it inconclusive?

Who is Sarah-Jane Smith?

How is the Doctor Bill’s teacher and why/where does he have an office?

What is going on with the Cyber War and the Cyberium???

Who did the Doctor lose to Cyber Conversion?

What happened with the Other Cyber War?

What happened with the Third War that deleted the void?

Why does Rose seem particularly important?

What’s with the Weeping Angel statues, and why can’t you blink at them?

What order do these Doctors go in? (Eccleston, Tennant, uncertain, Smith, Capaldi, Whittaker)

Which companion just… forgot the Doctor, and how?

Yaz and Vinder are about to die as Mori/Mwri/Muuri

There is a Lupari shield around Earth.

What’s a Time War?

What’s the Rift?

What’s Bad Wolf?

What happened with Amy’s pregnancy?

In which war did the Doctor become a war criminal, and how?

Who is the Master?

Why has Amy forgotten Rory?

Is Rory plastic or not?

Why is the Doctor sulking on a cloud?

How exactly does the Doctor have a cloud?

What exactly happened with Strax to, uh, tame him?

Which friend killed Strax?

Which friend brought Strax back?

Where did this lesbian lizard and human couple come from?

What happened with Clara as Souffle Girl and the Daleks?

How does Clara actually join?

Why so many Claras?

Why is Missy apparently in robo-heaven?

Why is probably!Missy pushing Clara and the Doctor together?

What is Trensilor and what happened there?

Who is Handles?

The Doctor is about to be dissolved by a beautiful geode man

The universe is being crushed by the Flux

Will the Doctor open the fobwatch?

Sontarans are invading Earth again

Who is Kate?

Who is Osgood? Another name of Clara’s again?

The fuck is the deal with the Grand Serpent

Does Martha get to go to an ice cream planet with 12-fingered massage aliens?

How did the Doctor forget Clara?

Who is Bill’s puddle girlfriend Heather?

How did Nardole die?

When does Bill get Cyberman-ed and die?

When does the Doctor shrink and enter a Dalek called Rusty?

Whittaker is falling to her death rn

Was that ring relevant?

Does anyone know the Doctor’s name?

When did Yaz talk to Dan about fancying the Doctor?

When did Dan talk to the Doctor about fancying Yaz?

Who was the Doctor’s wife?

What's happening with the bees?

What happened with Donna's ex and a giant spider?

[x-lucifera]

So about Season 14 Episode 2...

Okay so... Another rant because I have nothing better to do today :D And I can't sleep.

Again SPOILER ALERT! Just in case.

In my previous post, I mentioned that Ruby acts weird. Her relationship with the Doctor is too rushed. It is her second adventure and she acts like she knows everything about him. Which is annoying.

@futurepresidentofsomething (sorry to call you out like that, love, but I wanted you to see this, cuz I promised I'd check this out. Tell me to delete it and I will.) mentioned that it was said they travelled for 6 months between episodes 1 and 2. So I had to watch it again.

And I found this moment - After they faced Maestro, Doctor takes her back to her time to prove that her world is dead. So he asks "What time are you? June 2024?" and she says "It is hard to keep track, but yeah I think so. June. July?". Episode 1 clearly states they went to space on her birthday, Christmas Eve, so 24.12.2023. But that doesn't mean they have been travelling for 6 months. There is no more indication about it. However, that could tell that she was on and off a bit, and this adventure was not her second. Or she simply went with him, but he landed a bit too late. She lived a little and then went back again for this second thing. But this option feels off, for some reason. Doesn't suit her character. However, we don't really know if she moved in with him like Rose, Martha, Donna, Amy for half her run, and Rory or is she just being taken for adventures like Clara or Bill.

But even if it does explain why she is so know-him-all about the Doctor it doesn't solve my issue with her. Because if she indeed was travelling for 6 months (or just more than two times) then why doesn't she know about the clothes? Ruby asks the Doctor if should she change her outfit to fit in the 60s, but we know that she doesn't have to. (Yeah! He tells Rose to fix her clothes in 1869, Season 1 Episode 3, Unquiet Dead, but the consensus is that he did it to see her in a dress not because it would actually cause a riot. Then Martha changes clothes in Human Nature, S03E08-09, but it is a disguise. Donna changes clothes into period-appropriate when they visit Agatha Christie, E04S07. And then once later S12E08. In any other story regardless of time, no one cared.)

... However, that could be a change due to that salt in-space-thingy. Before stepping on a butterfly didn't change the world, this time it did. Or maybe they never actually stepped on a butterfly before so when could not know that for sure... Oh, this is wibbly-wobbly. I love it.

But again! She asked how they would get into that recording studio. Doesn't she know about the psychic paper? After 6 months she should have known. He uses it A LOT.

And then again... If she was on more adventures with him... Why did he tell her that his adventures all had a twist? "There is one thing I have to warn you about" - he says " And this is really very serious. In all my adventures throughout time and space, I have to tell you, there is always a twist at the end." Shouldn't she already know that? Because that is a thing you tell someone at the very beginning. Like he told Amy about him being a madman in a box just before their first trip (S05E01, Eleventh Hour), just like he told Rose that this is always this dangerous (S01E01, Rose) like when he told Donna some ground rules in Partners in Crime (S04E01). I don't remember what he had told Martha but there was a warning too. Or to The Fam (S11E04, Arachnids in the UK). She told them to be sure of their decision to travel because of the danger.

[nyovette]

In the Roses of Pieria by Anna Burke

Summary: When Clara Eden is offered a job as an archivist working for eccentric estate owner Agatha Montague, she thinks her prayers have been answered. Soon, she finds herself sucked into her research world, captivated by a romantic correspondence thousands of years old. But as her feelings for her employer's assistant, Fiadh, deepen, so does her suspicion that something about Agatha Montague isn't right. Unfortunately for Clara, it is far too late to run by the time her suspicions are confirmed..

Rating: ★★★★☆

Non-spoiler review:

Right from the beginning, I was enthralled. The beauty of the writing within this book is undeniable. Burke does a fantastic job of setting the scene without overdoing it with the descriptions of the spaces the characters are in.

The language in Gata and Natek’s letters is just as beautiful and poetic. I love the sweet sapphic yearning mixed with the intimacy of a handwritten letter to the woman you love but can not have. I can see how Clara gets swept up in their love story.

There are some.. steamy.. scenes within the story that, admittedly, I had to skip through. Not because they were poorly written, but because I’m not someone who enjoys reading about such things. I don’t doubt that the descriptions during those parts were written as wonderfully as the rest of the book, but that’s something you’ll have to discover for yourself if you’re into it.

The reveals that Burke had laid the groundwork for all clicked into place, but there is still enough mystery left over for book 2. Overall, I did really enjoy In the Roses of Pieria, which is why I got through it so quickly! I’ll be keeping an eye out for the release of the second instalment.

T/W: R*p*

I will say, though, that there is a scene that can be interpreted as being similar to a r*p*. Clara is forced to do something that, while not sexual in nature, is written with sexual, or at the very least sensual, undertones. Other readers may not interpret it the way I have, but I felt it important to mention anyway.

If you'd like to know more about this scene before reading the book, I've briefly gone through what happens below without any of the details. It is at the bottom of my review under the T/W in bold, so you can skip the other spoilers.

Spoiler review:

Right from the beginning, I was enthralled. The beauty of the writing within this book is undeniable.

Burke does a fantastic job of setting the scene without overdoing it with the descriptions of the spaces the characters are in. The story opens with Clara in her classroom as she finishes up a lecture, and the way Burke is able to romanticise what would usually be a depressing, soul crushing environment had me amazed. I’ve not long left university myself, and making a lecture theatre sound almost magical that is not an easy feat.

The language in Gata and Natek’s letters is just as beautiful and poetic. I love the sweet sapphic yearning mixed with the intimacy of a handwritten letter to the woman you love but can not have. I can see how Clara gets swept up in their love story.

There are some.. steamy.. scenes within the story that, admittedly, I had to skip through. Not because they were poorly written, but because I’m not someone who enjoys reading about such things. I don’t doubt that the descriptions during those parts were written as wonderfully as the rest of the book, but that’s something you’ll have to discover for yourself if you’re into it.

Overall, I think that the reveals of (some of) Agatha's history, Fiadh's connection to Agatha, and Natek and Vezina were interesting. Burke certainly did well laying the groundwork for these, so they didn't come as a shock, more of a "oh my god, yeah, that makes sense!!".

There were only two issues I had, which is why my rating is 4/5. The first is that I finished the book feeling like something was missing. Like some scenes should've had more to them. It's hard to explain, and I don't know what exactly I wanted from these scenes, just that I wanted more. At the end, Burke states that In the Roses of Pieria was intended to be one book, not two, so maybe that's why I feel this way, but who knows.

Another reason I've gone for a rating of 4 is the following:

T/W: R*pe ------------------------

Something that had me rather unsettled was one of the scenes following Clara’s discovery of Agatha’s secret - that she’s a vampire. Clara has been brought in to Agatha and, rightfully so, is terrified of the woman in front of her. She is also struggling to process what she’s learned and seen, as her entire understanding of the world around her crumbles. To ensure Clara remains subservient to her, Agatha uses thrall to make Clara come to her and ask to be bitten. Clara is unable to fight against it, and her mind is manipulated, making her feel as though she desires Agatha’s lips against her neck and wants to obey her completely. It is written as having some sexual, or at the very least sensual, undertones. After the incident, Clara is sickened and distraught. She can’t sleep out of fear that Agatha will make her act against her will again, or suck her blood (which Agatha has also done without Clara’s knowledge while she was asleep in bed).

As I read, I felt as though this incident reflected r*pe. Or at least, that was my interpretation. Agatha had taken Clara’s control of her own body, almost like she had been drugged, and made her believe in that moment that she wanted it. Afterwards, Clara was traumatised, scared, and angry. What added to the disturbing nature of it all was Fiadh’s almost… justification.. of it? Despite witnessing the entire thing, when Clara expresses her disgust at what happened, Fiadh tells her that Agatha shouldn’t be held to the same standards as humans, that this is just what she knows and, the fact that she makes you want it is actually “a kindness”. Now, Fiadh has been brought up with her family serving Agatha for generations, and it is briefly mentioned that she has probably been groomed by Agatha to believe this is okay and “kind”. But her dismissal of Clara’s trauma was frustrating. Clara is shown to be greatly negatively impacted by this event, refusing to sleep, being too scared to turn her home lights off, or on, and jumping at every little noise out of fear it’s Agatha.

Now, I’m currently 64% of the way through this book, so perhaps this will all be addressed later on. I’d like to see Fiadh break through this illusion that Agatha is kind and good and simply doesn’t know any better. I want to see her acknowledge what happened to Clara and apologise. To validate her feelings rather than brush them aside. Agatha’s intentions were clearly evil - she wanted to show Clara the extent of her control and to make her fearful. She knew exactly what she was doing. I don’t think this is something that should be ignored.*

*I have finished the book, and this incident wasn't brought up again. Clara ended up agreeing that thrall was kindness, and Agatha was seemingly redeemed as she risked her life to save Fiadh. Perhaps it's just me, and other readers will disagree, but I'm disappointed that this event wasn't criticised. The reason I mention this is because it may be important as a content warning for future readers.

[daisylikesmedia]

Series 8 Episode 8: Mummy on the Orient Express

Heyy everyone today we’re going to be checking out the 2nd Agatha Christie story-based Doctor Who episode, Mummy on the Orient Express! Is it going to hit the same S tier heights as Unicorn on the Wasp did on my rankings? Let’s find out!

So the first thing to look at when reviewing pretty much any murder mystery, is whether or not the mystery is any good. Good news, it is! Well, it’s decent, and serves the episode well. There’s a mummy going about killing someone every 66 seconds (they’re called the Foretold). Other people can’t see the mummy when these murders are happening, and it’s down to the Doctor and the other experts shipped in to figure out how to stop it. Like any good mystery, it does have layers and every time one peels back it’s very satisfying. Learning that the Mummy was shipped on board, that the orient express was rigged to investigate the creature, etc etc. is a lot of fun. The only issue I have with it is that there isn’t as much clever foreshadowing compared to other mysteries. Maybe I spoiled myself by back-to-back watching Knives Out and Glass Onion, but the way those movies click so much more once you know what’s going on really adds to the experience, whereas with Mummy on the Orient Express a rewatch doesn’t reveal any cool little things you could have noticed that might have helped you figure things out quicker. That’s a nitpick though, it’s very well paced and thought out, and most importantly a lot of fun.

I don’t feel like I need to say this anymore but this is also Series 8 character work and once again, it doesn’t miss. Clara and the Doctor’s “last hurrah” dynamic works so well with the characters at play. Twelve has clearly started to soften up a little in this story, and you can see him starting to try and approach the relationship from a slightly different, more empathetic angle, and this is an important step for him and Clara. Clara’s change of heart during this episode is also super earned. She sees in this story the justification behind a lot of 12’s callousness during this series, and alongside a great little scene on the phone with Danny, this makes her change of heart at the end of the episode click. Series 8 retains it’s form here.

Also I wanna take a moment to shoutout Perkins. He’s a lot of fun, and I really enjoy his dynamic with this Doctor as a more distrusting yet humorous companion. If this wasn’t a story happening within the heavily character focused Series 8, I’d have loved the idea of him staying with the TARDIS crew and being a mainstay companion, but I feel like trying to force another character into Series 8’s arcs would have been a mess, so sadly he was one that got away. 🙁

TL:DR/Overview: Yea this episode just nails it. Good character work, good mystery, good fun. There could be an argument made that because this episode doesn't do anything particularly to stand out, it doesn't deserve an S tier, but I think if an episode is getting pretty much everything right it deserves that spot. S tier gang :3

[curseconsumed]

“You need to-“ Oliver’s felt like his words were slipping off his tongue--from his grasp--as the smoke began to clog his nostrils, drifting in through the cracks. He would fall into ugly bursts of coughs, the raised arm in front of his mouth doing little to prevent the smoke from entering and inflaming his lungs. One moment he was out in the cold, sluggishly wandering through the night, and now he could feel the heat of movement on his feet in the parlor of a home he had no permission to be in. If it wasn’t for the red of his uniform, the marking on his tricorn hat, and the fire eating away at the home, he would look like a madman. “You need to leave,“ he ordered in a more confident lilt, sparing a glance at both Clara and her mother. “Both of you. Now.“ Baker @ Clara // sharp-teeth-and-wide-grins

@sharp-teeth-and-wide-grins

The w.ar had made the Boyd's social calendar a rather dull affair. Parties were now frowned upon -- not because people didn't wish to partake, of course, but rather, because it looked unsightly when so many others lacked the means to do so -- and yet this didn't keep Clara from sulking, her heeled foot lightly tapping as she pretended to read a book of poetry. Across from her faux reading, her mother, Laura, continued perfecting her needlework, and in the neighboring room, her sister, Catherine was practicing her scales on the harpsicord.

Though the longer the drab evening went on, the more the mood began to shift -- the more the very air changed. Setting aside her book, Clara lifted her chin and looked from left to right, perplexed by the sudden warmth emanating from the walls. "Mother," she warily began, "did you have Agatha re-light the hearths?"

It was too much smoke and heat for a fireplace -- she knew that -- and yet willing to overthrow all sense of logic, she looked to her mother with a pleading, needful desperation for it all to be true.

Laura moved to reply, but that was when the door to their right burst open, sending in a billow of smoke and heat that caused both women to cry out. A man followed soon after, coughing and holding an arm over his mouth and nose, and thus, obscuring his identity.

When he beckoned for to them to flee, Clara immediately shook her head. "No," she denied, rising to her feet, "not without my sister!"

Laura shouted after her, but the redhead was already throwing open the door and rushing into the conservatory, her lungs tight with breath as a cloud of black smoke greeted her. Coughing and drawing in several sharp, wheezing breaths, Clara squinted through the painful sting of s.mog and shielded her eyes, only to feel her pulse lurch once she spotted Catherine, unconscious and sprawled out along the rug. The blonde was a nervous girl with an equally nervous constitution, so it wasn't farfetched to think she'd fainted upon spotting the danger.

"Kitty!" Clara cried. Rushing over to her fallen sister, she took the girl by the shoulders and hefted her upright, her breath spasming into more chokes and coughs as she tried to tug her sister upright. "Help us!" she called over her shoulder. "Please... We're in here!"

Laura appeared in the entryway then, fretfully wringing her hands. "Oh," she bemoaned, "oh, dear me..." To their would-be-savior, she entreated, "Can you carry her, sir? I can show you to a shortcut..." She gestured shakily overhead. "We can go through that corridor. The conservatory leads to a mudroom with a door."

[aparticularbandit]

So - in regards to Agnes and Agatha and visual differences between the two (and how yes they are both portrayed by Kathryn Hahn but I don't mentally view them as her):

Agnes, for instance, is always bigger than Agatha is. She's fuller. She holds more weight. But it's more than that. Agnes is more exuberant, more loud. She's uncomfortable with silences, and she's sometimes needed to be loud to be heard. Agnes comes with a presence that's different than Agatha (like Pinkie Pie vs. Pinkamina Diane Pie, if you get the reference). She's boisterous. She's BIG.

Agatha, on the other hand, is small. She's sneaky, she's conniving, she's manipulative. She's mousy, and she's WILD. Where Agnes's hair is always carefully - perfectly - crafted without a hair out of place (oh, be ye wary if Agnes is starting to look less than), Agatha's is always - not frizzy, but staticky, almost. Not all of it, but strands of it, maybe, never quite in place, always just slightly off. Agatha's shoulders hunch a little sometimes, but Agnes is always perfect posture. Agatha's hands are dirty, her hands are shorn, she has a tendency to roam bare foot, dirt gets stuck under her fingernails - Agnes is clean and put together and wears heels (so she often appears taller than Agatha, even without the perfect posture) and her fingernails are ALWAYS done. Where Agnes is full, Agatha is thinner. Not spindly, not bone thin, just a little more angular, sharper than Agnes is, hollow in a way that Agnes never appears to be (which is such a contrast to Agnes, who always seems so full but has a hollowness from loneliness, who always puts up a facade of perception because she knows that she isn't, where Agatha just does not care about any of that anymore).

They're the same, they're the same, but they're NOT the same.

And I know it makes me sound like I picture Agatha as wild and untamed and dirty, and that's not it - it's more like she's not AFRAID to be dirty, she's not afraid to get her hands in the dirt and mud and let its everything get all over her. She already knows that she is ruined, so what is dirt?

Agnes is still striving for perfection within a cultural standard, and Agatha has learned not only that she will never reach it but also that the world does not and has never wanted her, and so she makes herself smaller and invisible and shoves her hands in her pockets and hunches and hides. Like - their whole mannerisms are different! Idk how to words it.

[americangirlstar]

*slides into american girl board meeting after sneaking past security* heeeeyyy I have a great idea for y’all! So you like selling those expensive sets right? A little overkill giving Corinne like three $100+ sets but you guys clearly love doing that. Well you also know how you’re losing money because you’re not focusing on the historical line, and how we all want you to bring back best friend dolls but you’re a lil hesitant about it? Well boy do I have a solution for you!

I call it: Collectors’ Doll Cycles! What is this, you may ask? We will cycle by year, picking a doll and giving them a special collector’s set. Not just a good chunk of their outfits like usual; in this set, we will have three extra dolls! Three dolls of their friends or relatives, which you can all buy in a bundle to collect!

We start with Josefina- I know, y’all don’t think she sells, but listen, everyone and their mom has a Clara custom, you’re throwing away money by not jumping on this. And Encanto just dropped, and you know what’s in Encanto? Luisa, who has the same outfit and hairstyle as Clara. Clara even came out first so you don’t have to worry about people saying you’re copying her! So release Josefina and her sisters and the rich kids who liked Encanto will beg their parents for a doll that looks like Luisa and/or “sister dolls”

Then the next year we see who has the most requests and cycle around. Think of what we could do with this! We had people complaining that Molly got Emily instead of Linda and Susan? How about Molly and Linda and Susan! For Samantha you can just mass-produce the same doll twice and sell it as Agnes and Agatha; Nanea can have all of her kittens (Lily, Donna, Dixie), Felicity and Elizabeth could have Nan and Annabelle; Kit and Ruthie can have their Stirling! We don’t even need to add a fourth to Kit’s people will see Stirling and immediately hand you their wallets

You could even have two options for Melody: one set of her siblings (Yvonne, Dwayne and Lila) OR of her friends (Val, Diana and Sharon– aka her support system from the first book that made me cry). Courtney friend group would be super easy and probably would make y’all a lot of money considering how popular she is rn– you could have Tina, Kip and Sarah. I think an Isaac doll might cross the line a bit into “profiteering off of tragedy” but that’s for y’all to decide. Maybe you can donate to an AIDS charity or something idk.

Alright so also I would like to talk to you about the possibility of an Iñupiat doll- *i am forcibly dragged out by security*

[eloura]

Appreciation for the 13th Doctor, why I love Jodie Whittaker’s Doctor

This has taken me forever to write, so I hope at least I few people read it. Granted, once I start talking I can’t shut up. I’ve seen an array of hate towards Jodie Whittaker as the Doctor, and I thought it would be nice to write a post on why I personally love her and why she’s my favourite doctor. And no, it’s not because she’s a woman. Though, it was one factor. And for context, I’ve been watching doctor who since I was a child, and my old favourite used to be the tenth doctor, so it’s not because I haven’t seen previous seasons either.

I’ll get this one out the way, the thirteenth doctor is a woman. This is a big deal for me, in a positive way- I’ve always looked up to the Doctor, always wanted to be like him, for years I wanted to cosplay him as well but as a feminine lady I wasn’t comfortable with cosplaying a man. Then Jodie comes along, she’s everything I wanted in a female doctor, I never through in a million years we would ever have a female doctor. When I first watched The Woman Who Fell To Earth, I just started tearing up,

This. This moment. Because in this moment I though, yes. This is the Doctor. And she’s wonderful and brilliant. What I love most, is her personality didn’t change because she’s a woman now, she doesn’t really wear makeup, she still wears a tux, she’s not bothered about the way she looks, it’s just nice to have a female characters who’s so heroic, kind, and intelligent. It just hit differently for me watching her. She doesn’t forget.

Now, one can argue there’s not much continuity and 13 doesn’t mention her past, which I can understand why you would think that but I disagree.

Here, you can see she still remembers her past, and is still hurting from the ones she lost, from Rose, Martha, Donna, the Ponds, Clara, Bill, etc etc. And with the fez reference, and little lines like “Talking about wasps, have I ever told you about me and Agatha Christie?” Or “Half an hour ago I was a white-haired Scotsman!” Keep long term viewers happy, while not completely alienating new fans, as I feel with series 11+ it’s like a blank slate for new viewers to get into the show, which in my opinion is a good idea. 

Another thing I really love about the thirteenth doctor, is how positive and hopeful she is.

I feel like each doctor symbolises different things, and to me I feel like she’s represents hope and positivity. I really love this about her because I have a lot of personal issues where it leads me to feeling a bit down, but when I watch her Doctor I always feel a lot more happier, positive and hopeful, and for me I really appreciate that.

I also really love how witty she is. Now, I know every Doctor is a little bit quirky and funny, but I find 13 one of the best. She’s a little bit childish, excitable, cute. I love the running gag of her forgetting that she’s a woman now, it’s a nice touch that’s unique to her Doctor.

The Doctor’s speeches are always spine chilling. and for 13, it’s no exception. I love how protective she is of Earth and humans, as previous Doctors have been. A lot of people say the writing isn’t all there, I get where you’re coming from but I personally like it, especially moments like:

She’s confident, she’s protective, she’s loving. It’s just something I really love and appreciate with her Doctor. I  feel like she always wants to do the right thing and will always put everyone first before her own safety.

Talking more recently, I like how she interacts with The Master, she’s not trying to reason with him, convince him to travel with her, mend their friendship, she’s just done. She is sick of him at this point,

She’s rolling her eyes, she’s taking no chances. It’s different, as with Ten, he was doing anything he could to convince the Master to see the universe with him. With Twelve, he wanted Missy to stand with him. with Thirteen and the Master, she isn’t interested. She just wants to save humanity.

I also love the family dynamic. I know we’ve had that before with Rose and the Ponds, but having the entire ‘fam’ as she would say, in the TARDIS with her, idk I find it really cosy and nice. A lonely traveller finding a family to show them the universe with is just really nice, and in my opinion a lot better than having one companion where they /usually/ fall for the Doctor.

Finally, I want to talk about Jodie Whittaker’s acting. I’ve been hate for her online saying she can’t act, which I disagree with, have you seen Broadchurch? Anyway, for this, it’s not fair to blame Jodie for what is the writer’s fault. I like series 11 but its undeniable that Jodie doesn’t have many chances to truly shine as an actress. However, I feel like this is changing in series 12, I especially liked her acting when seeing the destroyed Gallifrey, and how angry she looked when listening to the Master admit her did it. With hope, public opinion of her will change after this series.

Right, well, I think I've babbled on for enough about Doctor Who. If you’ve made it this far, I am surprised with your patience! And if you disagree with me, that’s fine of course! We won’t always agree or like the same characters and that’s completely fine, as long as it’s respectful. 

[islesnucks]

🧐 ah yes gonna bing back question time with Kesh, you know the deal

who would you take to a red carpet event with mcu actors/hockey

who would you rather be stuck on a 12 hour flight with? nico h or elias p and why?

have wanda be your teacher or agatha?

go to catcphrase

most memorable meme you've made so far and your favorite meme!

ooooh kesh's qs are back we love it

1. chris evans, no hesitation that man owns my body and soul, and i'm not gonna go with the obvious one (barzy boy) i think a red carpet wiht joel would be so funny

2. nico because elias would hate the fact im quiet hahaha

3. right now agatha cause wanda is still figuring stuff, she learns to understand things herself before teaching

4. uuff i dont know probably mouthing related to being stress and anxious

5. most memorable has to be the saints one, either the faces or the logo and those two plus th do it for him with anders lee are my favs

clara's 700 followers celebration 🎉

[uncloseted]

Do you think effy would read books? And if yes which ones? Also what movie reminds you of her ?

Definitely. We see her read a few times over the course of the show; she seems to like biographies and young adult sci-fi/fantasy. In the series, we see her read the Biography of George Brecht, and The Demon Headmaster. She also really likes Greek Mythology, we see her reading a book of it to Tony in 206. I think she might also like A Series of Unfortunate Events, because it has the same sort of tone that Demon Headmaster does. And I think she’d like Agatha Christie mysteries as well.

For movies, she likes E.T., Clara Bow’s films, and the Elephant Man.

[ebonysolcum-two]

Doctor Who asks, part Deux!

73, 75, 76, 79, 81, 88, 91, 93, 98, 100?

73. Favourite TARDIS design?

- Twelve's. I love the dim orange light and all the bookshelves on the upper level.

75. Favourite Doctor outfit?

- Probably Four's. I love the long scarf and I even made one myself.

76. Monster with the best design?

- I love the New Who Silurian design.

79. Best opening titles?

- I love the colour in Thirteen's titles, but I've got to go with Twelve's. I love the gears and clock face look.

81. Time period you'd want to go to with the Doctor?

- The '60s. I'm kinda obsessed right now.

88. Historical figure you'd like to meet?

- Agatha Christie

91. Historical event you'd like to see in Doctor Who?

- Good question. I'm not sure. I love history, but I'm kinda bad at it so I can't come up with anything at the moment.

93. Who would you completely erase from the Doctor Who universe?

- Well, there's one person I could say, but since I and practically the entire fandom likes to pretend he doesn't exist, I won't actually mention him by name. Other than him, I'd get rid of Danny Pink. I didn't like his attitude towards the Doctor. I think it went a little too far. Also, I hate what he did too Clara's character.

98. Which character's fate would you have changed?

- Donna Noble. She deserves her memories to be restored and to be the Doctor Donna. I'd give her her own TARDIS and let her have her own adventures.

100. If you could write an episode of Doctor Who, any ideas for what you'd do?

- I don't really know. I'm bad at coming up with plots, but it would probably be an historical episode.

[sapphichymns]

I’m going to put my rant in read more. I’m going to be such a Debbie Downer!

(Also I don’t want to put people in a bad mood just because I feel like being negative)

I think all 3 modern Who showrunners have their problems (and need someone to point out things that might be problematic; tell them when to add an extra line or two) but Moffat might be the one who annoys me the most.

He can do great stuff with other writers (RTD being the best example). I still would put Blink in series 2 and The Girl in the Fireplace in series 3 in order to fit a bit better but eh, its fine. ANYWAY, my problem with him is of how he keeps forgetting the emotional follow through.

Amy, of all the modern companions, has a huge stack of trauma which is never properly talked about. Her parents die but come back and are never mentioned again. She had therapy when she was younger due to raggedy man but that doesn’t go anywhere either. Becomes pregnant and unpregnant so many times in Amy’s choice which is such a brutal thing for her to go through but it is never discussed the consequences of such a thing. Her own pregnancy is hidden from her (by the Doctor too!) and when her baby is born, they get immediately kidnapped/turned into goo on her very arms and yet, the next time she sees her daughter, it’s actually her best friend BUT NOT REALLY BUT LET US NOT GIVE HER THE TIME TO PROCESS  IT?! It is just, why give a character such emotional heavy traumas if you don’t want to talk about them?

River, for such a femme fatale, always goes with the Doctor’s words no matter what. I know people complain how the Fam never push back compared to previous companions (which I disagree because I feel the only who truly pushed back all the time was Donna but that is another matter) but River just never doubts any of it. Even Amy at one point casts doubt about the Doctor and River just says “we have to help him” which...yeah. She just seems like a plot point for the Doctor to unlock than an actual character. The fact she was brainwashed since birth is easily pushed to the side

Rory’s arc is dying enough times to become braver enough (the Dark Souls route) to the point it becomes a joke and we don’t even see his last death.

All these events happen but Moffat just forgets what he puts his characters through. I have problems with RTD and Chibs but it never feels they are going to forget their companions’ past events just because they aren’t directly linked to the Doctor. They still react and act accordingly to what happened to them.

And even this shows in terms of plots. They have all this build up but it never feels they properly pay off and the characters don’t really change due to the build up.

I know people keep comparing the Hybrid to the Timeless Child but the way they are constructed are the complete opposite of each other.

For example, the Hybrid is teased throughout series 9, as something the Doctor knows but won’t tell. People keep discussing it with the Doctor but he doesn’t seem affected by it. Then it is revealed the Hybrid might be his relationship with Clara but the show itself seems unsure about it. I would buy it more if their relationship was different from series 8 and Clara hadn’t come back from the dead!

This problem happens in Dracula too where Agatha keeps discussing with him of why he might be immortal (which he doesn’t really care about) and it gets solved in the last 10 minutes of the last episode in such a handy wavey way.

At least in the Timeless Child, the moment the Doctor discovers about Gallifrey being destroyed and the Master being stubborn about what the Timeless Child really is, she is just in a really bad mood throughout series 12. Plus the consequences of the Timeless Child are clearly still happening.

The other thing I just cannot buy from Moffat’s era is the fact Eleven’s becomes darker with time is on purpose. Sherlock, Eleven and Dracula are so similarity characterized with the “smartest man in the room” shtick where everything in the world revolves around them so him being a manipulative bastard doesn’t seem like a natural progression for him but as something that exists since the start, especially with the fact he never gets called out about it.

And the thing is: the show already had a Doctor becoming more manipulative over time and actually working. Seven, after meeting Ace, starts manipulating her, saying it is for her well being (sure). The build up feels more natural thanks to the fact Ace actually calling him on his bullshit. Of course, both have the problem of the Doctor’s god complex and always knowing every step but one of them is actually fun to watch.

Here’s the thing: I do think Moffat could learn. Heck, he did learn from all these mistakes and that is shown in series 10, especially with Bill and the first half but he always trips up in the same god damn place. I watched his Dracula because I legit had hopes he would change his game a bit but it is all the same but in a different coat of paint (in which case, it is blood and vampires instead of sci-fi).

Also no, Thirteen isn’t like Eleven. She is actually Time War!Eight if he existed (but he doesn’t because we can’t have nice things).

[vaguely-gestures-to-the-void]

Hindsight: My thoughts on Loki (2021)

Welcome back! Spoilers below!

I need to clarify that I watch Loki purely as an escape. I've got a biased perspective in that regard because I don’t actively try to find fault with the show, though there are definitely things I’m not so inclined to. This is more of what I noticed and think things mean and it’s something I’m doing for fun. Anyways, here's my thoughts on episode 2 my loves.

Episode 2: THE VARIANT

Pre-title scene

Miss Minutes’ monologue in the recap is different to the one last ep.

1985 Oshkosh, Wisconsin

C-20!

“Today’s guest performances” on a board. Don’t really know if it means anything tho.

The Iconic (TM) I Need A Hero scene.

Pony.

The green tent - the lair of Loki.

I know not everyone’s a fan of the lighting, but it made sense to me. They’re still in the dark about who Sylvie is.

Why does C-20 take off her helmet? For the drama?

I hope Sylvie cleaned her blade. Narnia taught me well.

The Time Samsung (I can’t remember what it’s called right now) says that the date’s 04/12/1985.

Loki’s first mission (?)

‘Volume 26’ - how many of these does Mobius have?? #giveMobiusajetski

“ONLY at your LOCAL AUTHORIZED DEALER” - subtext about the TVA being control freaks? Jet ski safety?

I googled Wake Magazine. They’re up to volume 20 from what I saw, whilst Loki is reading volume 26, so I guess that’s something

Loki and Miss Minutes lmaooo.

Behind Loki’s elbow is the taxidermy something from the last episode. Also confirms that Loki threatened Casey at Mobius’ desk lol.

The thing has an egg?? What the hell is Mobius collecting? (He’s a Harry Hart variant lmao).

There are little twitches in Miss Minnutes’ hands. That’s so cool!

The egg timer’s a nice easter egg (I’m a comedian).

Mobius! B-15! :)

Is it just me or do the minutemen look similar, but not exactly the same. Makes sense if they’re variants.

I just realised the lights are built into the ceiling. Whoops.

What’s Mobius’ favourite?

Couple of things:

The racks full of identical uniforms/ones just hung up on doors.

The music has started to pick up the pace, but not in the way we see later on in the episode.

There’s a sign saying ‘FARE THEE WELL’ on it. Google tells me that it’s ‘used to express good wishes on parting’. Dang that was some good foreshadowing!

The person that looks like Agatha is still present.

I wonder whether it was supposed to be colder or whether the weather was just like that when they filmed.

The pony’s still around.

I think B-15 certainty that “a Loki couldn’t have gotten the jump of C-20” comes from her experience with them. She constantly tries to make it clear that because she’s not a variant, she’d know Loki better than he would, which (personally) makes the revelation that she’s a variant feel more devastating.

Again with the lighting, they’re still in partial darkness, constantly moving in and out of the light. Whilst what Loki says about the variant setting a trap is true, it isn’t in the context that he says it. Sylvie whoops their asses later.

The black and red-orange flags remind me of tomb markers. It’s a stretch, ik.

B-15 only has tally marks on one side of her helmet.

Mobius has fake pockets in his suit jacket. They’re the worst.

The ticking increasing in tempo as they approach red line - great for setting up tension.

I believe that Loki uses personal space like a weapon - slowly approaching them from the front, and then going behind Mobius’ back when he wants his way. It would make anyone uncomfortable, especially on a subconscious level because there’s a threat behind you.

Or maybe it’s that I have different personal space boundaries, not everyone likes being approached from behind. Loki’s movement felt intentional at least.

Getting Mobius to physically turn his way because of that might have been very subtle manipulation?

Loki looking back and forth trying to judge their reactions lol.

I liked the music in this scene, it sets up tension for Loki’s first attempt at betraying Mobius but then doesn’t completely dismiss it when it’s resolved.

Ravonna Renslayer’s office

The music here is 18 morceaux, Op. 72, No. 2. Berceuse. 18 morceaux, Op. 72: No. 2, Berceuse (Arr. For Theremin and piano) by Clara Rockmore for anyone that’s curious. I found out through Natalie Holt’s Twitter (I think).

The score is, and always will be, perfection.

Mobius’ small talk amuses me.

“Why do you get to keep all the trophies from my cases in here, you don’t think I’d love having that roller skate?” Mobius, what about the thing on the shelf behind your desk????

Ravonna seems like she’s answered these questions before, but she has a fondness for him that makes me think they’re good friends.

Also does Ravonna have multiple complete collections of the Encyclopaedia Britannica in her office? What are those books??

“I hope it’s a double.” Me too Mobius, me too (drink responsibly).

I don’t get how people think Mobius doesn’t remember leaving the stains. It sounded like Ravonna was chiding him for a bad habit and Mobius just made up a remark, not confusion.

Although he does place the cup at a different spot to the rings.

The ship flying past in the windows is a wonderful detail.

“The variant likes to stall for time.” It's very satisfying to me how everything stays relevant. Every detail advances the plot/contributes to it.

“Look, I know you have a soft spot for broken things.”

“I don’t think so-”

“Yes you do.”

Both Mobius and Ravonna only look at the middle figure when referring to the time Keepers. Either the other two are side-lined or don’t contribute at all.

“I’ll delete him myself.” At this point in time, I think Mobius is serious. As the episode progresses, his status may have changed, especially after the Jet Ski philosophy session.

Ravonna’s sash on the peg reminds me of the ones the people talking to Casey were wearing in episode 1.

Man those doors are so cool.

Peak sitting outside the principal’s office energy.

Mobius whistles at Loki as opposed to talking to him like he does later.

Any screen shot from the following scene is pristine chaotic disaster bi Loki energy featuring tired-of-your-tomfoolery Mobius.

“Isn’t that precisely why I’m here?” This marked a change in Loki to me. Up until that point, he’d tried to use what he’d known, who he’d been by scheming his way to the Time Keepers. By admitting he wasn’t sure of his purpose, we’re back with the person at the end of the last episode. It’s very Loki to try all avenues to get what he wants, and after having his world turned upside-down a few times in a short period, maybe he just wanted the familiarity of his old tricks, who he thinks he is.

Loki tensing up and then trying to assert control again reaffirms what I just said.

Man, give Mobius a holiday after all of this. Loki really tested him, huh?

Loki definitely likes validation on some level.

TVA archives (a.k.a the Salad Scene)

I can’t believe that place really exists. The looks combined with the music are just *chef kisses*.

I’m not sure if I’m thinking of the right progression, but the music reminds me of a plagal cadence. Google examples and play it side-by-side, you’ll get what I mean, maybe someone knows what it really is?

On either side of the elevators near the Time Keeper statues are the signs TVA archives.

The symmetry pleases my goblin brain.

I believe the entire show was just flexing the skills of the Loki crew and I couldn’t be happier.

“Pretend your life depends on it. I’m gonna get a snack.” This was so funny in the trailers but Mobius is dead serious (delete him myself comment). And he couldn’t even enjoy his salad.

Love that the end of credits takes from some of the scenes in episode 2.

The archivist has neat glasses.

I want some TVA stationary y’all.

It’s that moment fam.

I can’t be the only one curious by the ‘DISPLACED by 000:000:002:162’. Is that in Units? It would explain why the time line looks slightly bendy whenever we see it, especially if Apocalypses are so frequent.

IT’S THE SALAD LADS!

Mobius is reading the magazine that Loki was looking at earlier. Jet skis are Mobius’ comfort character.

“Don’t set fire to the palace.”

Tom Hiddleston has so much energy, he can move so fast.

“Oh God.” - Mobius, Null Time Zone

“YOU.” - Casey, Null Time Zone

Casey!

No thoughts, head empty, the Salad (TM).

But seriously, people only seem to be at their tables with others that work in a similar section. Not hunters and analysts eating in tandem to me, folks.

Oh Casey. Please don’t hurt him.

Aw, Mobius’ little giggle warmed my heart. Owen Wilson’s giving me whiplash with Mobius. My heart can’t take this y’all.

79 AD Pompeii, Italy

They’re both so giddy, Your Honour, I love them.

Mobius snuck them out lol.

“Bird noises?”

“BE FREE MY HORNED FRIENDS, BE FREE!” The post wouldn’t be complete without this.

Loki just throwing food at people and telling them “...enjoy your last meal while you can” is top tier comedy to me.

This is the first time we see Loki openly say nothing matters. I feel like the case file on the destruction of Asgard really pushed him to treat fate as unchangeable.

LXXIX is 79. Nice one Loki crew!

Mobius’ eye twitching as he checks the variance is a nice touch.

Loki throws away the stick that was holding the goat pen closed at the end.

TVA Archives, TVA cafeteria

Mobius picked up those files so smoothly I had to re-watch it.

Their position reflected what they were talking about - when Loki thinks it’s his individual contribution, he’s walking separately to Mobius, but they meet up when working together. I loved the blocking in that little moment.

I seriously thought that Loki was unconscious when I first saw him asleep around Mobius. I’ll admit it, it felt out-of-character for someone with such bad trust issues. Both of them seem pretty tired tho.

It’s the Jet Ski conversation comrades!

I’m beaming. Mobius talking about Jet Skis was the only time I’ve really remembered it’s Owen Wilson talking. It’s such a fun line to think about!

Loki’s smile. Adorable.

Just go watch the scene, it’ll give you good brain juices.

Mobius does it all for the Jet Skis and nothing else. I don’t make the rules, the Time Keepers do.

“My own glorious purpose.” This is a recurring theme in the season. Ultimately, I think that Loki is going to run for as long as it brings in money/until Loki gets killed again. However, I do like to think that in following seasons we’ll move beyond setting up Phase 4 Marvel stuff and just get deep dives into Loki’s character, though it may happen in the later eps or not be as interesting. Part of what made this show so interesting is the new setting in the Marvel universe but it’s hard to make predictions as to whether it will last in a show featuring the God of Mischief. Whatever happens, I’m happy that we got to see Loki’s existential crisis together, lads.

The music picks up, signalling that this quiet moment is about to end.

“No one bad is ever truly bad. And no one good is every truly good.”

“Scared little boy.”

These lines mean a lot to me. Loki perceives Mobius as an equal, similar to himself but not completely identical. The TVA’s whole aesthetic is Kafkaesque (Disney+ used that word), the imperfections keeping the place from looking mechanical and orderly like what the TVA promotes itself to be. Loki wants Mobius to acknowledge it, but Mobius is in the past, not addressing what’s right in front of him, surrounding him. That’s probably because Mobius doesn’t believe, he accepts what he’s been told though Loki wants to change that. He’s still focused on his job, the variant. I don’t think Mobius will struggle against change in the ‘belief’ part as long as things are rational.

Kate Herron (director) said that the Kablooie scene was improv which makes me wish we had more B roll of Owen and Tom. They seem so professional, invested and fun on set.

“No wonder you’re so bitter.” I’m sorry Mobius you sound as salty as your salad.

‘Artificially flavoured chewing gum’ Has something happened causing artificial flavouring to be preferred?

‘Blue’ has canonically changed to ‘Bloo’ by 2050 in America in the MCU. I blame capitalism.

Why does Mobius look so tiny? I say that like Owen Wilson wouldn’t look like a giant next to me lol.

Owen Wilson is 3.5 inches (9 centimetres) shorter than Tom Hiddleston. Yet he is dwarfed as Mobius. I need to stop talking about this and move on.

There’s no ‘variance energy detected’ line in the report.

“You’re gonna take my job if I’m not careful.” Loki looks so chuffed.

One day, I’ll properly address my thoughts on the shipping. Until then, I just want no one to die.

“Yeah, he’s doing great.” Mobius is so hyped. Good for him.

Owen Wilson has dimples.

Ravonna’s screen doesn’t show the timeline like it does later.

Ravonna is the done mom friend. Sane, undeserving of this, please give her a jet ski moment.

Buckle up folks because the last twenty minutes of this episode are my favourite so far.

At 34 minutes in, we get the music fading in with “Okay. But Mobius...” and a transition to my favourite composition so far. Natalie Holt outdid herself. The soundtrack is nearly constant, there’s no break for a moment of clarity anymore. The progression of events is inevitable, tying the bow on a plot line created in an hour and a half. The little embellishment from the strings (possibly) as Mobius and Loki exit is perfect. Combined with Loki’s raised fist leading to a pan to the ceiling, it prepared the audience for everything being turned upside down.

The changing camera angles and shot lengths (the continuous shot when B-15 takes the knives, the circling behind as the briefing occurs) keep viewers on their toes. The continuous shot is fluid, B-15 doesn’t look at Loki or Mobius, her reaction is natural and that just proves that the timing on that scene was impeccable. The circling behind reminded me of Loki positioning himself behind Mobius as he did earlier, but now he’s on the same side, part of the team though he continues to distinguish between himself and the variant. The building sensation that change is coming is met by the incredible swell in the music as we watch the picturesque Haven Hills get destroyed by modern technology and face the terrifying reality that is the Roxxcart store. There’s a close up on the Roxxcart storefront with school buses with the words ‘Evacuation shuttle’ in the background as we see the TVA’s minutemen come out reinforcing that even when the end is nigh, large corporations will loom over. A storm is raging with worse to come. I can go on and on, but you get the point.

2050 Roxxcart Disaster

I love that y’all are calling this the Alabama supermarket breakup. Makes me chuckle, that’s for sure.

I too hate when people can hear my footsteps. Someone that gets the struggle.

Sylvie places the TVA Samsung over a Roxxcart Security manual. She’s overridden both and is in control.

The date is 03/15/2050.

I think that the way the Hunters and minutemen hold their baton things is so that they don’t get yeeted. Neat.

As always, the beats are slick yo.

I hope the Azaleas guy gets some Azaleas wherever he ended up.

I love the way Loki says “In this storm.” It’s so satisfying for no real reason.

The wonderful Wunmi Mosaku does not get the recognition she deserves for this scene. She switched from B-15 to Sylvie so effortlessly. They’re two distinct characters, her facial expressions, body language everything changed in that instant. Even from the one line, “No, they usually survive,” her delivery had changed in a way that was noticeable. It’s uncanny, exactly what was needed when facing a foe that remained unseen. And the smile? It’s before we know the variant as Sylvie, so naturally it’s that signature Loki smile with a hint of malice we associate with the variant. Damn y’all, Wunmi’s incredible! I really hope she’s recognised for being so talented in this series, if not in all her other work!

Mobius really cares about those people. I really want his redemption (?) arc.

It’s been pointed out that even in those conditions, Roxxcart were selling blankets and water. I think it means that by 2050, cash would be defunct. If only electronic payment existed, as long as there’s electricity they can run a business. Chew on that.

If the man they speak to is 50 to 60, he was a 90s kid.

There must be a difference in the reprogramming or kind of variant selected to be a hunter as compared to an analyst. The Hunters look after their own, but the analysts (or Mobius) go as far as empathising with variants.

C-20 is sitting in front of safety standards.

“A bit amateurish.” Loki knows that the variant isn’t as skilled with magic as he is.

As Loki and the possessed people walk, the lighting becomes brighter. He’s moving out of the shadows.

Me too Loki, I’m worried about B-15 too.

Sylvie unironically saying bless is hilarious.

Randy must be hella tall.

There’s a low angle shot as Loki and Randy face off with the flickering light above with a sign hanging above them like a sword of Damocles and a physical separation. Terror is nearly constant in Loki's life now, but he responds by letting go of his drive to survive.

The subtle swells in the music just add to my rising blood pressure.

C-20’s voice over is sad lads.

“I wanna go home,” we know she’s not referring to the TVA.

Mobius seems like a caring person.

When B-15 sits up and searches the room, I think it’s her realisation. Her shiver was from fear and shock, the music wasn’t about her not seeing Loki, it was about the TVA and what had happened to her.

The head snap and the score timing matching. So satisfying.

“I would never treat me like this. Hi.” I think that’s Loki realising that his foe is not willing to talk their way through conflict.

This fight scene contradicts all the magic we see later ik, but if he didn’t want to hurt anyone and was trying to draw out the real enemy it made sense.

Some of Sylvie’s powers must come into the people she possesses. The guy punched a glass screen and didn’t even bleed.

“I have shit to do.” Sylvie wasn’t raised with court etiquette (from what we know) and her lexical choice reflects that.

Dell computers survive into 2050 in the MCU. So do those robot dogs and Roombas. I am only happy about the Roombas. Where did the real dogs go? :(

“Mobius.”

“Where is he?”

“I lost him.”

“What happened?”

“I...”

Until now, B-15’s delivery has felt slightly rhythmic, like she was used to having the same arguments, particularly with Mobius. When she trails off however, I think it’s her trying to rationalise what she’s been through with Sylvie’s possession. Her devotion to the TVA was rooted in the fact that she wasn’t a variant, her life had a purpose and it was intentional. This must have rocked her, I’m invested in where she’ll go.

THE CUT TO BLACK OH GOOD GOSH.

Sylvie, my queen. I’d roll off a cliff for her.

The person with the moustache (you know the one) has pure fear on his face.

Ravonna knows what’s up.

And so do you, yes it’s the music, go listen to it.

THE RED LIGHTING

The zoom out to that incredible hallway shot and then stopping behind the time door. It was never about him after all, he was in the background of her plans.

Sylvie’s wave in Roxxcart vs. Loki’s on the train. Discuss.

The blackout, thunder and Loki’s pause under the flickering red and white light, do y’all really want me to talk about the s y m b o l i s m????

He’s conflicted, you know it, I know it, Mobius knows it.

Speaking of Mobius, there he is, we cut back to Loki and see him make his decision, zooming back in on him.

And with that final flourish in the score, we are done with episode 2!

Cue the most amazing end credits score you’ll ever hear.

Do yourself a favour, listen to all of it, including the part after the main credits, both are Works. Of. Art.

Ep 2 review

In case you didn’t notice, this is my favourite episode so far. There are parts I didn’t take to as much, but details from the previous episode being used in the plot as well as others being explained by Sylvie in episode 3. Rewatching it was easier than episode 1 though it left me wanting more. It will get more interesting from here, but until then, that was a fun romp.

See y'all next time. I hope whoever's reading this has a wonderful day!

Part 1, Episode 1 extend review link:

[papermoonloveslucy]

MARY WICKES

June 13, 1910 - October 22, 1995

Mary Wickes (nee Mary Isabella Wickenhauser) was born in St. Louis, Missouri, to parents who were theatre buffs. A smart student, Mary skipped two grades and graduated from High School at age 16. In college, she majored in English and Political Science, though shifted her career goals to acting at the suggestion of a professor. 

Wickes’ first Broadway play was Spring Dance in 1934, acting alongside Phil Ober, who married Vivian Vance in 1941. Her second Broadway role was in Stage Door (1936) although she was not asked to repeat her role in the 1937 film. One of the RKO contract players cast in the film version was Lucille Ball. 

In The Man Who Came to Dinner, her seventh Broadway show in 1939, she played Nurse Preen, a role she repeated in the 1942 film, her Hollywood debut. She did the role twice more on television in 1949 and 1972. During her busy film and television career, she often played prim, professional women, secretaries, nurses, nuns, and housekeepers, who made sarcastic quips. She left Broadway in 1948, and did not return for another 30 years. 

Wickes did not do nearly as much radio work as many actors in Hollywood did, probably because she was busy on Broadway, but she did act opposite Lucy and Desi’s friend and house guest Orson Welles doing radio plays for  the “Mercury Theatre” program. She was also sometimes heard in the 1950 series “Crime Does Not Pay.” 

On December 19, 1949, in a one-hour live “Studio One in Hollywood” presentation on CBS (a weekly anthology series), Mary Wickes became the first actor to play Mary Poppins, almost 15 years before Julie Andrews immortalized the magical nanny on screen. 

Lucille Ball and Mary Wickes were more than just co-stars. Wickes was a close personal friend to Lucille Ball, who often went on vacation with the family.  According to Ball’s daughter, Lucie Arnaz, Wickes was her mother’s most constant friend throughout her life.     

Wickes was actually a regular on television a couple of years before Lucille Ball, as part of the cast of “Inside U.S.A.” (1949-1950).  Lucille Ball guest-starred on the series in November 1949. The show was done in New York and Lucy was delayed in getting to the studio for rehearsals, so Mary Wickes was asked to stand in for her. When she finally arrived, Lucy observed Wickes and was impressed with her work. They were friends from then on. 

A year later, Ball joined her film co-star Bob Hope on his television show, “The Star Spangled Revue”, which also featured Mary Wickes. 

In February 1952, Ball hired Wickes to play one of her most memorable characters, Lucy Ricardo’s ballet mistress, Madam LaMond, on “I Love Lucy.” This would be Wickes’ only performance on the series. 

Although she did not return to “I Love Lucy”, Wickes still maintained a relationship with Desilu, appearing on 21 episodes of “The Danny Thomas Show” from 1956 to 1958. She played Danny’s no-nonsense Press Agent, Liz O’Neill. 

At the end of the first season of “The Lucy Show,” however, Wickes returned to Lucy’s TV family. In her first appearance, her character actually used her birth name, Mrs. Wickenhauser in “Lucy and the Runaway Butterfly” (TLS S1;E29) in 1963. 

A few months later, Wickes is back. This time as Frances, one of Lucy’s friends, at the start of season two, which was shot (but not aired) in color. Fran takes the role of Charmian, opposite Lucy’s Cleopatra, at the Danfield Community Theatre. 

Fran was also a member of the Danfield Women’s Auxiliary Fire Department, alongside Lucy and Viv. So when they form a softball team, Fran and Audrey (Mary Jane Croft) also get involved. 

Fran’s final appearance finds her and the other volunteer fire fighters taking life-saving courses in order to impress Mr. Mooney and the bank trustees to save their brigade.  When that fails, Lucy sets a small fire in the bank, intending to be the hero and put it out - but naturally the plan fails. 

When the series re-set the action in Los Angeles, Fran was left behind, and Wickes instead appeared as a series of different characters, starting with Lucy’s Aunt Gussie, in “Lucy and the Sleeping Beauty” (TLS S4;E9) in 1965. The dozing beauty of the title is not Wickes, but guest star Clint Walker. 

In 1966, Lucille Ball’s favorite game show, “Password”, hosted not one, but two ‘Lucille Ball & Friends’ weeks!  Mary Wickes played during the November week. When Mary Wickes learns they are playing for money, she says “We have to give it to Lucy and Gary.”  Lucy says “That’s not true!”  Lucy and Mary win the second game in 28 seconds.

In 1967, Wickes returns to “The Lucy Show” to play Mrs. Winslow, a mother in urgent need of a babysitter.  Lucy answers the call, not knowing her little ones are actually chimpanzees!  Oh, and there’s a baby elephant, too! 

A few months later, when Robert Goulet guest stars, Wickes plays his frazzled assistant, Miss Hurlow. With Goulet having three personalities, it’s no wonder she’s frazzled. 

On her final “Lucy Show” appearance (her 8th), Wickes plays another eccentric aunt of Lucy Carmichael’s, Aunt Agatha, a mystery guest who comes to visit  and makes turns Lucy’s life upside down by making her take part in her strenuous health and fitness routine. 

Once Lucille Ball re-boots “The Lucy Show” as “Here’s Lucy” there is an attempt to make Wickes into a recurring character. She plays Isabel, a secretary in the same building as The Unique Employment Agency.  

The attempt only lasts two episodes, however: “Lucy Goes on Strike” (HL S1;E16)...

...and “Lucy Gets Her Man” (HL S1;E21). Wickes only has 40 seconds of screen time at the very start of the episode. Mary Jane Croft joined the show shortly afterwards as Mary Jane Lewis, serving much the same function. 

A few months later, however, she was back. This time returning to her nurse’s uniform she filled out so expertly in The Man Who Came To Dinner (inset photo), to play Nurse Hurlow in “Lucy and Harry’s Tonsils” (HL S2;E5). Perhaps coincidentally, Wickes uses the same surname she used as Robert Goulet’s secretary on “The Lucy Show.”  Perhaps it was the same woman who got fed up with the craziness of show business and went into nursing?  Or, more likely,  the writers just ran out of names!

For the first time, Wickes’ character doesn’t have a name, but she gets most of the laughs, as the personal care attendant of a germ-phobic little old lady with a gigantic diamond that needs cutting. Wickes spends most of her screen time spraying everyone she meets with an aerosol disinfectant!  Wally Cox plays the nervous jeweler. 

Wickes then gets into a habit she finds hard to break, when she plays Lucy’s sister-in-law, Sister Paula, in “Lucy’s All-Nun Band” (HL S4;E8) in 1971. Although Wickes only played two nuns on the big screen, in The Trouble with Angels (1966) and Sister Act (1992), both films had sequels where she reprised her roles. 

“Women like me. They think I'm wholesome or something.” ~ Mary Wickes

At the start of season 5, with Lucille Ball / Lucy Carter’s leg in a cast, she naturally returned to her whites to play Nurse Sylvia Ogilvy in both “Lucy's Big Break” (HL S5;E1) and the next episode, “Lucy and Eva Gabor are Hospital Roomies” (HL S5;E2).  The two episodes are both linked by Lucy’s recovery in the hospital. 

In “Lucy Plays Cops and Robbers” (HL S6;E14), Wickes plays Violet Barker, Lucy’s neighbor. Her husband is played by sitcom veteran Al Lewis of “Car 54″ and “The Munsters”. They are part of Lucy’s neighborhood watch group. The surname Barker will also be used for Lucy’s character on her final sitcom, “Life With Lucy.”  

In her final appearance on the series, Wickes goes to the old west when Lucy is elected honorary sheriff of a one-horse town called Cartridge Belt. Wickes plays Clara Simpson, the town philanthropist. 

In the last episode aired of “Here’s Lucy” there is a character named Mary Winters, a character written to be played by Mary Wickes, or at the very least, with Mary Wickes in mind. The role was filled by a very Mary Wickes-like actress, also named Mary, Mary Treen. 

Lucille Ball and Mary Wickes collaborated one last time on television in “Lucy Calls The President” a 1977 TV special that reunited Lucy with many of her favorite supporting cast members. Wickes once again plays Lucy’s aunt, Miss Millie Baker.  The special has the Whittaker family rolling out the red carpet because they believe that President Jimmy Carter and family are going to visit! 

Life after Lucy included appearing as a recurring character on “The Father Dowling Mysteries” from 1989 to 1991, as well as her film roles in Sister Act and Little Women. 

In 2013, Steve Taravella wrote a biography of Wickes titled Mary Wickes: I Know I’ve Seen That Face Before. 

Mary Wickes died of complications following hip surgery on October 22, 1995, aged 85. She made a $2 million bequest in memory of her parents, establishing the Isabella and Frank Wickenhauser Memorial Library Fund for Television, Film and Theater Arts at the Washington University in St. Louis.

“I love playing good comedy with a heart, comedy which touches the audience.” ~ Mary Wickes

[msmaple]

Rules of the Beast

Although sometimes it’s just uncomfortable to view the same story in different set, I like that Moffat continues to work with one idea, trying to look at it from different perspectives and finally formulate it.

In “Dracula”, Moffat is talking again about one of his favorite themes, the rules of the man. (I think, “Dracula” breaks into themes that interest either Gatiss or Moffat, and Gatiss is not particularly interested in monsters with rules, so I omit his name here with a clear conscience.) Even Moffat’s monsters work on this principle: they are either forced to follow the rules, like Weeping angels and Vashta Nerada, or turn into monsters, following them too precisely, like Clockwork droids or nanogenes. Moffat's heroes are also bound by them, because "a good man does not need rules." Every hero in the center of Moffat’s story builds a stockade of rules around himself, because none of them considers himself a good person. They are all extremely intelligent and have incredible power, and the rules are the line they draw for themselves as a border that prevents them from turning into monsters.

In Bram Stoker's “Dracula”, the rules are formal and limit the possibilities of an almost omnipotent evil — fear of the cross, sunlight, even the need for someone else's blood. These are the rules of the beast, the rules of the monster. However, in Moffat’s story, these rules are transformed, because Count Dracula combines the features of a monster and a hero, which Moffat hinted at in an interview before the premiere (he really needs to publish the book "How to tell spoilers so that no one understands anything"). In fact, Dracula becomes the Moffat’s hero, who has crossed the line; he is both the dark Doctor and the dark Sherlock, and also, of course, Hyde of his own Jekyll. Moffat’s stories never end, they flow into each other (sometimes it frustrates me, because “Dracula”, for example, does not work for me as a separate story, it needs a wider context).

In "Dracula" Moffat frankly replays all his stories in the most dark and alarming way. Lucy Westerna wants to become Dracula and may even become one, but the story from season 8 finale of DW literally burns her up (don't cremate me!), and Lucy becomes a distorting mirror of Clara Who. Agatha is creepy and in her own way very attractive opponent / reflection of Dracula, and their story becomes a dark rebirth of Moffat's favorite melodramas: “If it takes the Devil to bring me to my Lord, then I say — bring on the Devil!” Well, of course, this story revolves around the theme of death, and death is a dark and lonely business, so I shouldn't be so surprised.

But here's the trick — when Moffat’s heroes come close to the line separating them from the inner monster, they actually behave as humanly as possible: they suffer, they mourn, they try to make a choice when there are only bad options. Dracula was a hero who became a monster and came up with rules to stay at least a little bit human. The rules of the beast become the darkest, but also the most humane page in his story and in the story of every other Moffat’s character, no matter a monster or a hero. Without the rules of the beast, there can be no man. We are all stories in the end (and blood is lives / stories), and Dracula wrote himself in the most evil story possible, because no one will ruin your life worse than yourself. But no one will amend it better than you either, so the rebirth of Dracula at the end, no matter how dark and fierce it may be, is still rebirth.

I am not a good man! I'm not a hero. You know who i am? I ... am ... an idiot! With a box.

And of course: do you think I care for you so little that betraying me would make a difference?

And death is not so lonely and terrible thing after all. Even if just this time everybody dies.

[talistheintrovert]

I was tagged by some of my faves @little-oxford-st @belizamorley-butera @chaotic-biquakes @goddess-clarke @anne-shirley-blythe @clarkgriffon

The instructions:

1. Pick 5 shows, then answer the following questions.

3. Don’t cheat.

4. Tag 10 people.

The shows:

1. Doctor Who

2.Good Omens

3. The 100

4. Fleabag

5. 12 Monkeys

The questions:

1. Who is your favorite character in 2?

if you try and make me choose between Aziraphale and Crowley i’ll scream

look at these absolute fucks and their antichrist godchild, i refuse to separate them ever

2. Who is your least favorite character in 1?

Clara Oswin Oswald... the lost potential... the lack of any discernible character or character development... the beginnings of Steven Moffat’s descent into utter villainy with two of my favourite shows... it’s just so depressing. 

3. What is your favorite episode of 4?

But they’re all so good!! uhhhh.... Probably the finale of season 2. It’s just... SO GOOD. 

4. What is your favorite season of 5?

1 or 4. But the best thing about 12 Monkeys is that every season feeds into each other. 

5. Who is your favorite couple in 3?

Bellarke. What can I say, I’m a slut for well written, intentional, incredibly beautiful, slow burn romances no i’m not deliberately shading jroth what are you talking about 

6. Who is your favorite couple in 2?

Ineffable Husbands.

7. What is your favorite episode of 1?

UHHHHH FUCK. okay okay okay i’m doing this by seasons. 

Season 1: The Empty Child

Season 2: The Girl In The Fireplace OR The Satan Pit

Season 3: The Shakespeare Code (i would say Blink, because i LOVE IT, but moffat has ruined the weeping angels, so it gets a close second)

Season 4: Unicorn and the Wasp, Midnight, Silence In The Library... what can I say, I’m a slut for agatha christie, horror tropes and libraries.

Season 5: Vincent and the Doctor

Season 6: The Doctor’s Wife

Season 7: The Rings of Akhaten, purely for that speech and that song

the show ended after season 7, right? steven moffat never ruined the show with stupid things like sonic sunglasses, right? THAT NEVER HAPPENED, RIGHT?!

8. What is your favorite episode of 5?

Any episode with Gale in it.

9. What is your favorite season of 2?

It’s only got one season, so my favourite episode is Hard Times. 

10. How long have you watched 1?

Oof. Uh, I think the first episode I saw was Family of Blood, so 2007? Twelve years, holy shit. That’s over half my life my dudes. I miss when I used to watch it every week. I miss when Russell was running it. God i’m so sad. 

11. How did you become interested in 3?

Pretty sure I saw gifsets and went YEP THIS IS FOR ME.

12. Who is your favorite actor in 4?

Phoebe Waller-Bridge, obviously. She just fucking nails it, and she wrote it. And she wrote Killing Eve as well. She’s an icon. Close second in the first season goes to Olivia Coleman for making me genuinely hate her, which is hard to do, and to Andrew Scott in season 2 for being an absolute disaster whom I love. 

13. Which do you prefer, 1, 2, or 5?

All of them, they’re Different Mood Shows™

14. Which show have you seen more episodes of, 1 or 3?

Doctor Who, easily. (1)

15. If you could be anyone from 4, who would you be?

Uhhhh none of them? Probably the Hot Priest tbh. 

16. Would a crossover between 3 and 4 work?

OOF probably not. VERY different styles of show. For one thing, Fleabag is ALL ABOUT the characters with very little emphasis on plot other than to develop the characters.  no i’m not deliberately shading jroth what are you talking about

17. Pair two characters in 1 who would make an unlikely but strangely okay couple.

Donna and Nine. I saw a post about it the other day and nearly died laughing. The Energy they’d have would be amazing. 

18. Overall, which show has the better storyline, 3 or 5?

Five, easily. 12 Monkeys is one of the most tightly written shows I have EVER. SEEN. 

19. Which has the better theme music, 2 or 4?

Good Omens, easily. Fucktons of Queen? Sign me the FUCK up. 

Tag people:@chase-the-windandtouch-the-sky @grumpybell @aainiouu @foreverandalwayscrysis @bellamyshope @still-watching @braveprincess @chants-de-lune @yourereallyhere @choose-wonkru and anyone else who wants to do it!