#post: note taking series

[genericpuff]

vent post

[deoidesign]

Thinks about my next series again... I drew the icon for it!

I'm planning to have it launched within a year! I'm hoping for summer 2025. I want to make a prelaunch page before Time and Time Again ends so people can subscribe if they're interested, but I'm worried the series return would be too early...

[al-luviec]

compiled whatever this is (and I run out of tag space)

meh HoT gifs (3/?)

[o-uncle-newt]

We don't talk enough about the Petherbridge/Walter adaptations of the Wimsey/Vane novels.

(Well, we probably talk EXACTLY enough about Gaudy Night, which is really pretty bad, but besides for that...)

(Sorry, just a warning, Richard Morant as Bunter is fine but I won't have much to say about him here. I just really like this picture.)

The casting is basically perfect, especially Harriet Walter as Harriet Vane. I no longer see the book character in any other way- the only notable difference is that in the book she's noted as having a deep voice, but Walter's has a distinctive enough tone that I think it works regardless. She is just so, so, so good- captures the character beautifully, sells everything she does whether mundane or ridiculous (probably the best/most realistic reaction of someone finding a body I have EVER seen in Have His Carcase), makes the most of every limited minute she's on screen in Strong Poison and leaves her mark every minute that she isn't... and she looks AMAZING doing all of it. Just perfect, could not imagine better casting.

Edward Petherbridge I don't hold up to that level of perfection- I think that, try as he might, he's not really able to capture Wimsey's dynamism (possibly because he's a bit too old for the role) and is a bit overly caricatured in many of his mannerisms. But overall he does a pretty good job, in addition to looking quite a lot like how I'd imagined Wimsey- but in particular, I think he does a really lovely job of selling a lot of the emotion that he has to convey in some scenes that feel like they SHOULDN'T be adaptable from the book- specifically the scenes of him and Harriet. Him proposing to Harriet, him being disappointed when she (completely reasonably) turns him down... those shouldn't work on screen with real humans rather than in Sayers's calculated prose, but it DOES work and in no small part because he's great at selling Wimsey's feelings as being genuine even when his actions seem over the top. And, of course, Harriet Walter sells her end of the scenes right back. All in all, I think I have mixed feelings about Petherbridge as Lord Peter Wimsey the detective, but I'm a fan of him as Peter, the man who has feelings for Harriet.

Overall, though, both are, I think, very successful in capturing these characters- the fact that they take these people who even in the book can sometimes push the boundaries of likeability (which to be clear, is part of what I love about reading them) and make them eminently watchable is a great achievement. And also, in addition to their really looking like their characters individually, they're very well matched as a pair in the way that one pictures them from the book. They're even of very similar height and build, which we know is canonically true from Gaudy Night, and thus at least a somewhat relevant element of their dynamic.

Now, the adaptations are very uneven, and that's even without talking about Gaudy Night because, while it has about as good a rendition of the punting scene as I think we were ever going to get, most of the rest of it is crap and massively expands on what I think are serious problems to Peter and Harriet's relationship that the series as a whole had (not to mention cutting the character of St George, which is a travesty). None of the adaptations are perfect, and mess with aspects of their relationship in negative ways- for example, the ending of Strong Poison is exactly backward in a really awful way. I'll get back to this.

But when the show gets the two of them right, it gets them RIGHT, even when it's adapting Sayers's text/creating new dialogue. There are scenes in this one that I love almost as much as the canon text, like this one:

I don't think any of this is in the book, and there are things that happen here that I don't think Sayers would have ever written. But at the same time, a combination of the dialogue and the actors makes it COMPLETELY believable as these two people, and it captures a moment that is just really key for Peter as he faces his limitations and his feelings- something that in the book is conveyed through a lot of internal narrative on Peter's part that would be impossible to adapt as is, but that in the world of the show needed to happen in a much more visual and narrative way. Not all of the dialogue that this series chooses to fill in those gaps works, but even when it doesn't the actors do their best to sell the heck out of it, and when the dialogue DOES work it is seriously brilliant.

Probably my favorite of the adaptations is Have His Carcase, and scenes like this one are a big part of the reason why:

They change the location, but otherwise it's EXTRAORDINARILY faithful to the equivalent scene in the book, and honestly it shouldn't have worked with real people doing it and yet it does. It's just acted perfectly, given just enough arch and silly humor (particularly with the spinning door) that we don't attempt to take it too seriously, while also conveying the relevant emotions so well. The actors in the scene through only their faces and ways of speaking convey subtext that Sayers, in the book, conveyed a lot later on as actual text in the characters' thoughts, and there's something pretty great about that.

Other Have His Carcase scenes are less good (the dance scene is mediocre at best, I think), but if there's another Have His Carcase scene that I think illustrates how great Walter and Petherbridge are at selling the human sides of their characters, it's That Argument- seen here:

The Argument is a pale imitation of that in the book- the one in the book is, in fact, probably unadaptable as is- but it is still just so good because the actors are so good at selling it. Walter is just brilliant in the role and utterly inhabits it while also imbuing it with her own spin, and makes us feel Harriet's pain- and Petherbridge, through some relatively subtle facial expressions and reactions, is able just as well to make US understand what all of this means to him and how he feels. It's actually really remarkable that, just like how Sayers writes a relationship dynamic that only feels like it works because she's the one who wrote it that very specific way, this scene feels like it only works because these two actors play it in this specific way. Could two other actors do it? Very possibly, but it would feel super different and I wonder if it would feel this authentic. (I do want to note though that this scene made me really wish that we'd seen a Frasier-era David Hyde Pierce in the role of a younger and spryer, but equally posh, witty, and vulnerable, Wimsey. It just gave me vibes of something that he'd do beautifully.)

Now, as I said above, this doesn't get EVERYTHING right. In fact, quite a lot of their relationship ends up going pretty wrong- as I think a major mistake is their throughline which emphasizes Peter's continued pursuit of Harriet as not just reiterating his interest to make it clear that he hasn't changed his mind, but actively taking advantage of moments and situations in a romantic sense, taking a much more specific role in engaging with her physically, commenting on her appearance, saying how difficult it is for him to NOT pursue her more, etc. It makes the whole thing feel a lot more cat-and-mouse rather than a budding relationship of equals, and one where Peter acknowledges the whole time that they HAVE to be equals for a) Harriet to feel comfortable with him and b) them to be good together. In fact, however good the Argument above is, it's kind of undercut by this very pattern- he makes the book's point about him treating his feelings like something out of a comic opera, but he also at that point in the story has had a few much more oppressively serious scenes with her that clearly make her uncomfortable- nothing like anything in a comic opera. It's like the show misses the point a little.

I think the place where this really starts is at the end of Strong Poison. (I could see an argument to be made that it starts earlier, in a few smaller nuances of their jailhouse scenes, but I like those enough that I choose not to read into them too much lol.) After what I think is a great addition to the final jailhouse scene (one that I loved so much I repurposed it for a fic)- "it's supposed to be about love, isn't it" and some excellent reactions from Petherbridge- Harriet goes to court, her charges are dismissed, and unlike in the book, when it's Wimsey who leaves first (which Eiluned and Sylvia point out is a sign of his decency in not waiting for Harriet to thank him), here Wimsey is the one who watches as Harriet rejects him and walks away from him- the beginning of the chase. But nothing about their relationship is meant to be a chase! It's so frustrating to watch as that proceeds to be a continuing issue to a limited degree in Have His Carcase (where it's at least balanced by enough good moments that it doesn't matter so much) and to a MASSIVE, genuinely uncomfortable degree in Gaudy Night.

The only praise I will give it is that while the punt scene in the book is unfilmable, I think this adaptation did its best here and it's pretty good.

I'm not going to spend much time talking about Gaudy Night otherwise, because I'd need all day for it and also I'd probably need to rewatch it to make sure I get the details right and I have zero interest in doing that, but the way that it has Wimsey imposing himself and his feelings/hopes on Harriet to a really ridiculous degree, in a way that he never, ever does in the book, is just so so discomfiting and makes me feel terrible for Harriet. She doesn't deserve that. If I recall correctly, in that scene at the dance at the beginning, she's so happy just being with him and then he's all "oh so this means you want to marry me" and she just droops. He's so aggressive!

And that's what makes the worst part so bad, because not only does this miniseries not depict Wimsey's apology as the book does- one of the best scenes in a book full of brilliant scenes- it would actually be weird if it did, because this show doesn't imply that there's ANYTHING for Wimsey to be apologizing for! In fact, unlike in the books where we see Wimsey growing and deconstructing the parts of himself that had been demanding of Harriet, in the series we only see him get more demanding- until finally he wins. It's honestly infuriating and I hate it- the actors do their best to sell it (and apparently they were given bad enough material that they actually had to rewrite some of it themselves, though I have mixed feelings about the results) but it is just massively disappointing. Basically the whole emotional journey between the two of them is not just neutered but twisted.

For all of my criticisms of the adaptations' all around approach to their relationship, I do have to reiterate- Walter and Petherbridge do a wonderful, wonderful job. (Especially Walter.) When they're given good material to work with, and even often when they aren't, they are able to sell it so well- and particularly in the case of Walter, I genuinely can't think of the character as anyone but her rendition now. She IS Harriet Vane for me. And, for all the flaws that the series has, that's something pretty dang special.

Anyway, for anyone who read through this whole thing and hasn't seen these adaptations, I DO recommend Strong Poison and Have His Carcase- but not Gaudy Night unless you're either really curious or a glutton for punishment. The first two, though, have very good supporting casts, are quite faithful plot wise (sometimes to a fault- another flaw is that they are really devoted to conveying the whole mystery with all its clues sometimes to the point of dragginess, but will drop sideplots like, for example, Parker and Mary- which is totally reasonable, but still vaguely disappointing as those sideplots tend to add some levity/characterization), and just generally are an overall good time. (Some standout characters for me are Miss Climpson in Strong Poison and Mrs Lefranc in Have His Carcase.) And, of course, the best part is seeing the little snippets of Peter and Harriet that come through- less so their journey, vs in the book where that's central, but so many scenes where we just see the two of them together as they are in that moment and it's so satisfying.

[spiderin-space]

Had to jump on this trend .

[queenaeducan]

anyway, when all is said and done i still think the the veil coming down could've done more for veilguard's themes than the actual end if handled a certain way

[yutamayo]

I still stand by my HC that if the Death Note didn't exist Light Yagami would've had an eating disorder in college

[blaithnne]

Re reading my Plenism notes and remembering that I am in fact a literary genius

[swagging-back-to]

worst trope is found family separating as soon as the antagonist is dealt with.

[katzirrart]

"I feel as though I'm... shirking my duties.. Squandering my glorious purpose... What if this is all a mistake...? I don't want anyone at risk just bec -"

"O.B. is keeping an eye on things, he'll let me know the second there's an issue of any kind. But you? You need to learn to relax."

"Mobius -"

"Ya'know, there's a saying about working smarter, not harder. You're smart; just accept that maybe you can relax a little. Live a little."

My girlfriend and I have a little post-canon AU and a lot of it is just... Loki learning to relax and slow down. Something Mobius has been kinda doing.

I kinda like the idea that for all Loki can hear and feel the timelines while he's a being at the end of time, he really enjoys how much nicer it is to clearly hear stories directly from Mobius' mouth. And there's bound to be anxiety about not doing something actively with the timelines from our boy, and getting constant reminders he's also earned making choices if he can have them. They'll all fight for his ability to have them too.

Also my girl and I keep commenting on comfy analyst Mobius and his eventual returning to fashion icon someday to be boyfriend lol

[piningpercussionist]

TUMBLR HAS A RESTORE FEATURE NOW???

I could have posted this hours ago,,, tumblr crashed while I was typing up the tags last time. A little late now, but: more Kim!

[upslapmeal]

Space Babies

Ok so I've been hopeless at doing my usual Episode Thoughts during s14 but if I don't get them posted before the finale then I never will. SO. the next few days will be a trip down memory lane to a whole 6 weeks ago before I'm off to the cinema on friday night!

here we goooo

no cold open we’re going straight in babes (heh)

I know we had it last ep but I do love a good seeing-the-tardis-for-the-first-time face

‘I’m the doctor’ yes you are!!

man I wasn’t a huge fan of 15's theme just hearing on its own in the concert but hearing it in context with him it works SO well

‘kinda posh’

‘they used titles’ and then i kidnapped a couple of teachers, told one to drop the 'Foreman' and the rest is history

ngl I've totally lost track of the gallifrey sitch

the master was going to blow it up then he didn't then the Doctor was going to then some guy stayed behind instead and then flux??

whatever we're back to last-of-my-kind square one

this is gallifrey theme my beloved how I have missed you

Martha and Bill yelling I told you so in the distance about the butterfly

‘Rubathon Blue of the 57th hemisphere hatchlings’ good to know I've got my Ruby tag sorted early doors!

anyway alien companion when

ooh they're going for a flying tardis

love fifteens energy!!

‘most of the universe is knackered babes’

‘the question is why did I run’ Doctor running is a key part of your whole deal. you know this right

‘yet again push the button’………when was the first time

(I have since learned there was meant to be a song on the jukebox that tied to this...would have been nice to see the jukebox being used. and also would have made these comments make sense)

…..baby looms?

‘food????? they’re not tomatoes!!’ lmao Fifteen is SO outraged

oh Ruby’s getting an End of the World moment <3

‘no boss or rent or taxes’ yeah forget time and space travel, NOW Ruby's thinking she's gotta get in on this

oh that baby is unsettling

oh no that baby mouth does not match that voice 

‘mummy and daddy are here!’ Ruby and Fifteen: 😬

it's so weird having fairly confident small child voices paired with very vacant baby faces

.....do these babies have nappies? that they change??

aww you can really see Ruby is used to kids, lifetime as a foster sister <3

ok Captain Poppy is the only voice so far that kinda works

‘oh popsicle’ naww Fifteen is so sweet with them

Fifteen and Poppy are so cute!!

also lol I love RTD going hard with the timeless child at every opportunity

‘nappies are changed at 1800h’ ok well that explains that

Ruby: ‘I didn’t mean to scare you 💞’ Fifteen: 'hey kids it's the BOGEYMAN!!!!!!' Ruby: 😠

ok listen. I know this is not it. but the boots and the length of the trousers.......Ruby's mum kinda looks like Thirteen

oh that's very much a hug-is-a-way-to-hide-your-face hug there

‘that’s the fate of every refugee, you have to physically turn up on someone’s shore’

Eric and the world’s most tiny and useless sword

‘a crock of waste product'

‘nice plan but what now' Ruby hon. this was your plan

you can really tell Ruby is used to looking after kids

‘don’t you touch them you illegitimate person’

FLAMETHROWER BABIES

oh Fifteen knows Ruby’s a keeper

‘oh babes…space babes’ lol Fifteen's just here to have fun (space) baby

‘it’s snot’ ‘it’s not’ the beauty of the english langauge

‘it is one of your children!!’ :(

even the (space) babies think that death by airlock disintegration a bit much

awooooooo!

I guess seeing the doctor save the bogey monster made them less scared??

appreciate RTD's commitment to getting some good fart work in both his first series of this show lol

but what will happen to the monster on the new planet??

like sure it's their sibling but.....does it know that?

‘I’m very very happy’ says the baby with the most sorrowful eyes I’ve ever seen

tardis key!!

Ruby letting 15 into the tardis <3

RIP Carla Sunday's kitchen ceiling 

first a crack and now this......at least the Doctor's giving the local plasterer good work

‘what the blinking flip’ Cherry Sunday's got a nanny filter on her

‘tell your mum not to slap me’ Thirteen got off light with Yaz’s mum

now when are we meeting the timelord called The Saggy Sheet??

the Doc's just going around giving their name willy nilly now lmao

as it should be I never enjoyed their name being a Big Mystery

kinda wish we got to see Ruby's family react to learning more about the Doctor!

hmmmm the dna scan is giving me v s6 vibes (derogatory)

Well that was a weird one, but since when hasn't DW been weird! Ngl it took me watching a second time to enjoy it a bit more because I was just SO thrown off by the baby voices lmao, but it was just generally a fun time, nothing too serious and just a chance to see a bit more of Fifteen and Ruby's dynamic! And it did tie in nicely to the ideas of Ruby and the Doctor both being abandoned, Ruby being a foster sister and the Doctor being the last of their kind. Two baby episodes in a row is enough for me though, glad it looks like next ep is baby-free, space or otherwise 😅

[raspberryusagi]

Tonight's Artober is brought to you by a silly edit my wife made while I was musing aloud over what to draw tonight. I knew I wanted to draw the Count, but that was it. She then said "pumpkin" and made an edit of him in a pumpkin costume.

[cellberry]

So I made it to the end of the War for Cybertron animated series...

...and Starscream Is Alive! 🎉🌟

[heliosphere-underthesky]

Character notes:

Adjusted Mercury a bit. Originally, he's strict and no-nonsense towards himself and anyone. Presents himself serious, but can be a bit too goofy at times.

Adjustments made:

Design-wise: he's going to keep more cat-like eyes compared to his earlier appearances which are more rounded.

Mercury is still strict and no-nonsense, but mostly only to himself when he's working on his duties.

When working with others, he's more lenient. He considers the dynamics of the group, but may sometimes get overwhelmed by the pressure; he's an efficient worker, but prefers not to take leadership position.

Outside of work, he's actually quite gentle and mild-mannered; a nice companion to trust one's secrets with given his honesty.

His goofiness can be attributed to his awkwardness outside of duties, and maybe general disbelief in general as he still has a lot more sense and tact than some planets.

Why the adjustments?

In the rocky planets group, I wanted to balance their dynamics. Earth is the only one who's a "sweetheart". Mars and Venus may be sweet in their own way, but are serious and distant. Mercury presents himself to be serious and logical, but he's more of a feeler than anything.

He needed to have more resemblance to Luna besides the height; having a gentler side was one way to pull it off.

I also wanted to flesh him out a bit more. As much as I love him, I was lacking a more fleshed out character direction to him compared to other characters who are more established. Making some changes like I did with Venus to fit in the dynamics of the main cast as a whole may help with that.

[joestarluxe]

man veilguard is fun while you're playing it and there are things i like but the elf racism issue is actually so uncomfortable i kinda....... don't want to play it anymore

white queer writers slapping superficially diverse traits (like having One (1) prominent nonbinary character*) on characters and patting themselves on the back meanwhile their writing wrt indigenous-coded characters is straight-up white christian imperialist propaganda

*not saying nonbinary rep is bad. i am nonbinary. queerphobes fuck off