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#agatha is all of us
butchdykekondraki · 2 months
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hello fandom. in front of you is a completely normal woman who is comfortable in her sexuality. your job is to describe her without calling her any of the following; GIRLBOSS(!!!!!!),whore, slut, harlot, mommy, or a milf. you have 20 seconds before the saw trap goes off and eviscerates the lower half of your body. good luck
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Watching the school for good and evil movie and they fucked everything up so badly
They made Sophie too nice making her sympathetic when she is meant to be conceited passive aggressive and vain
They made Agatha too nice as well somehow, she’s meant to be sullen, moody and kind of greasy at the beginning
They made Dovey shallow and go against all her principles in the book
They made it so Sophie and Agatha didn’t know abt the school despite it being well know throughout the town
They made Honora mean when she’s supposed to be plain and reasonable but kind
They made half the villains hot when they’re supposed to be greasy and muddy and “ugly” that is a key point in the book
They made the princesses outright mean. They are supposed to be nice to Agatha but passive aggressive. They have some good in them
Tedros and Agatha are supposed to hate each other at first site not whatever they gave us here
TEDROS DID NOT HAVE A MAGIC SWORD AND AGATHA WAS SUPPOSED TO LOOK BLATANTLY OUT OF PLACE IN THE SCHOOL NOT FITTING RIGHT IN, IT DEFEATS THE WHOLE POINT
YHE SCHOOL MASTER DIDNT EVEN HAVE HIS MASK ON AND HE IS NOT SUPPOSED TO BE SEEN BY STUDENTS HE STAYS IN HIS TOWER
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cissa-calls · 1 month
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Countdown to Agatha: Day 753
Agatha: “I’m not going in the water, I can’t swim!”
Y/N: “What do you mean? You’re several centuries old, and you never learned how to swim?”
Agatha: “When people in the 17th century were able to swim, guilt on crimes of witchcraft usually followed!”
Wanda: “…but you actually are a witch”
Agatha: “That’s beside the point! I was trying to avoid being hung or burned!”
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farragoofnotes · 6 months
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rereading the castle arc and sorry to do this to you phil but like. gil is definitely looking at the same thing tarvek is here, Whatever It Might Be. like that's just something you've drawn.
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k-wame · 10 months
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Verdades Secretas II (Hidden Truths) · S02.E38 · (2021)
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idk-bruh-20 · 11 months
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"I spent most of my life trying to do the right thing and live up to expectations, but it turned out I was being used to cause harm. I just don't want to be used anymore."
Tony 🤝 Steve
^how CA:CW could have ended if they'd had even one (1) empathetic conversation
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poirott · 9 months
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A Haunting in Venice feature in TOTAL FILM September 2023 issue
James Prichard, Agatha Christie's great-grandson and executive producer of A Haunting in Venice, did a little teaser interview.
He talks about the characters, Christie's legacy, a possible 4th Poirot film (yes, they'll do another if Branagh and the screenwriter want to do it!), and the film's nods to the paranormal as per the book and that they're just what the franchise needs. "If we are going to continue to make these films, we can' t do the same thing over and over. Departure at this moment is possibly risky, but it also has the potential to keep it alive, bring in a different audience, and do something interesting that will hopefully surprise and delight."
He didn't want to share any spoilers but said: "In some ways the supernatural is a suspect." :)
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anti-dazai-blog · 7 months
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I'm hoping that this person Fyodor mentioned in the last episode that challenged him once is someone who can give Dazai a run for his money and put him into a real situation where he doesn’t have all the answers. At this point, I'm starting to worry that's never going to happen.
I don’t remember if Fyodor mentioned the gender of the person when he made his comment, but if he didn’t then I’m gonna hope it’s Agatha Christie.
We’ve already seen her— in fact in the manga she’s already interacted with Fyodor— and the only strategists we’ve seen so far have been guys. I’d kinda like a woman strategist (so long as she’s treated with the same respect the series gave to Dazai/Fyodor/Ranpo in regards to their strategies.)
Technically Louisa could count as a female strategist, but she never goes up against any other strategist, and the only “strategy” she does is tell Francis not to make stupid decisions and (iirc) telling Steinbeck and Lovecraft that Dazai would try to retrieve Q. Neither of which are strategies. It never even goes into how she reaches her conclusions— it basically chalks it up to “she thinks for a really long time until she knows stuff”.
Anyway. Although I personally have never read any of Christie’s works, she’s my cousin’s favorite author, which essentially makes her my blorbo-in-law. So I gotta root for her getting more content.
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itwoodbeprefect · 2 months
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refreshing my german by reading a dutch translation of an english novel
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nonstandardrepertoire · 2 months
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now that i have read Every Single Sherlock Holmes Story, i have moved on to reading Every Single Agatha Christie Story. her early output is. uh. u n e v e n, but! the current book does contain this crotchety MP whose sole desire is to never do any work and instead simply gad about vibing. his name is Sir Eustace Pedler and he is truly an inspiration:
Guy Pagett[, my secretary,] struggled up on deck after we left Madeira and began babbling in a hollow voice about work. What the devil does any one want to work for on board ship? It is true that I promised my publishers my “Reminiscences” early in the summer, but what of it? Who really reads reminiscences? Old ladies in the suburbs. And what do my reminiscences amount to? I’ve knocked against a certain number of so-called famous people in my lifetime. With the assistance of Pagett, I invent insipid anecdotes about them. And, the truth of the matter is, Pagett is too honest for the job. He won’t let me invent anecdotes about the people I might have met but haven’t.
(from chapter 12 of The Man in the Brown Suit — i'm reading it on Project Gutenberg, so i don't have a page number)
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kidrat · 10 months
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Watford school is in Wales. To me.
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cissa-calls · 2 days
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Countdown to Agatha: Day 786
Agatha: “I crave subtext in everything I am, everything I do, and everything I consume.”
Wanda: “And what does its use grant you? Richer conversation?”
Agatha: “Close, but not exactly. Here, I’ll give you an example of why I love it - Y/N!”
Y/N: “What’s up?”
Agatha: “You look so nice today!”
Y/N: “Aww, thank you-“
Agatha: “-see Wanda, by explicitly saying that Y/N looks nice today, I’m implying they don’t look nice everyday.”
Y/N: “-wait, do I actually not look nice everyday?-“
Wanda: “Ah, so you savor the potential of subtext to be passive aggressive?”
Y/N: “-do I really look that bad?-”
Agatha: “Exactly! It’s a lovely way to be truthful without really hurting feelings, as long as the person doesn’t look into it!”
Y/N: “-does this mean every time you’ve said I look nice you had ulterior motives?!-“
Wanda: “You do realize that by having to verbally point to your use of subtext aloud, that negates the entire purpose and function?”
Agatha: “Well usually, I wouldn’t do that so-“
Y/N: “AM I A LOATHSOME CREATURE OR NOT?!”
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regallibellbright · 7 months
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RAT! :D
I love Weginald so much already.
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sapphicqueen · 2 years
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If Lizzie doesn't show up in House of Harkness I'm going to riot
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kahluah · 9 months
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Bro, the original storyboard are still up. Chelsea being Nerissa was a last minute change , which is why the twist doesn't make much sense. If you watch directors interviews you'll find that they intended Chelsea to be a Regina George mean-girl. Also they describe the twist as fun lmao.
Look, I understand there are storyboards. I also understand that stories can change while they are in production. I'm not doubting the storyboards exist and that an initial draft of the movie at some point had them as two characters.
There are interviews where they discuss how the story was still open for input, so, you know, suggestions, changes, alterations, all that good work currently in production stuff, when the studio opened back up with the hybrid set up about half way through the development. Just because some of the storyboards in the beginning had something does not mean it will always be there in the final product. Things change. "You'll find they intended Chelsea to be a Regina George mean-girl" fine, but it obviously didn't stay that way. And, as I've said before, there is enough information in the movie for the reveal to be guessable. I'll say once again, I figured it out when "plan get the Trident" was suggested by Chelsea. I'm sorry if you feel it makes no sense, but like I've talked to multiple people that were able to predict the twist so idk what to tell you there.
But, I am also just dubious of how you guys keep pushing this whole "last minute" change thing. In the storyboards I saw, even as separate people, Chelsea is still evil and turning into a giant fucking mermaid to enact revenge. Other than the name of the character, and a portion of her motivation being that she was avenging her mom (with the whole other bit still being the whole "becoming ruler of the ocean and taking over everything" thing), the overall reason for the end fight is the same. Chelsea would have still been manipulating Ruby for that goal of getting the Trident, killing the krakens, and becoming Queen herself. The only thing that would really truly change with these storyboards is her age, so to me it sounds like this "it's a last minute storyboard change that makes no sense!" is some form of excuse/denial so that people feel alright to ship them again and write good end fix it fics.
Also to be a bit more snarky here...
If you watch the directors interviews, you'll find that they say that Ruby is a character "stuck between really strong women; amazingly strong women... and a lot of people have a lot of ideas about how she should be living her life, and this journey she goes on is figuring out how she wants to... because her heart's in the right place in every frame of the film; she has no ulterior motive, and she's so empathetic to her friends and everyone around her. I think that was really the sweet spot that we, working with the animators and with Lana - You know we love that you're doing that because that was really the goal in an idea about this coming of age story." Gee that kind of sounds like what I've been saying this movie is about; her relationship with these women. Multiple other interviews also put emphasis on the relationship between Ruby and her mom, Her mom and Grand Mama, Ruby and Grand Mama, Ruby and Chelsea. You know, the people I've mentioned in my other posts. It's clear that by the time production was wrapping up that this was the direction and intention of the movie.
To be fair I've also seen where they describe Chelsea as a Regina George type mean girl, and it really fits the high schooler vibe she has going on, but it's clear that not all of that stayed through till the end of production.
I can also imagine a version or original idea for this movie being one where the kraken family and the mermaid family were supposed to be foils of each other, but to be fully fleshed out we would have needed more world building and the plot would have had more focus on the war itself since that would have been the ideal point to sure how these two families diverged from each other. They would both have the starting point of the end of the war, and a broken relationship between mother and daughter (one because the mother was killed and the other because Agatha left). But from the multiple interviews I've seen where they wanted the focus of the movie to be on Ruby herself and how she interacts with the other women in her life during this coming of age story, that plot wouldn't do it justice. There is too much background information that you would have to supply to showcase both sides of the story and Ruby's personal journey would suffer for it.
When talking about production of the film, multiple interviews also talk about how they developed the feel for land/the town vs under the water, the humans vs the sea creature, and some of the actual character design elements like Nerissa's water hair. I haven't seen one where they talk about the lore of the war and how they fleshed out how the under the sea politics work and how those were a super important part of developing the story and production direction of the movie... At this point who knows how much of that they had ideas for, we would have to wait for more storyboards or an art book, but my point is that it isn't what they wanted the focus of the end product to be about.
Those storyboards were ultimately changed and by combining Chelsea with Nerissa and having her be an adult, it tightened up the core of the movie being Ruby and her relationships with women in her life (since one was no longer a peer). The story of Ruby growing into her own was able to have the sole spotlight rather than having to split it between two different family stories.
A lot of people who work on and promote things in interviews will describe it as fun. It is a very easy way to get across "I enjoy and approve of this thing we did". What do you want them to do? Break the flow of the interview and take up all the remaining time by explaining in exacting detail when and why the change happened during the development, and their exact thought process in doing it, and who exactly suggested it, and who supported it, and how much of the story that they had at that point in time of production was changed by it? Like I'll admit I'm curious to when it changed, but when I'm watching a 10-20 minute interview on YouTube I would rather they cover more than just one little thing.
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sylkhi · 5 months
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Pretty sure I’ve said this here before:
My favourite type of character [to observe interact with others] is always ‘Spiteful, nasty, hateful, but NEVER wrong’
But I’ve finally found second place. It goes to ‘Holds so much rage, yes the rage is targeted but also of COURSE it colours their interactions with the people around them’ and I love watching them navigate their way through the world
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