#oldladymysteries — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #oldladymysteries, aggregated by home.social.
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The way I gasped when I saw that Midsomer Murders is on PBS.
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The way I gasped when I saw that Midsomer Murders is on PBS.
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The way I gasped when I saw that Midsomer Murders is on PBS.
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The way I gasped when I saw that Midsomer Murders is on PBS.
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The way I gasped when I saw that Midsomer Murders is on PBS.
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The third Orient Express....SIGH. I liked it but...that ending. GAH.
Thanks @grumpasaurus for the film school explanation of why Branagh's version is such a mess.
I just have ONE question:
WHY were they in the train tunnel. WHY.
And WHY did it seem like Poirot was having some weird mid-life crisis of masculinity all over the place? Geez man, keep it together.
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The third Orient Express....SIGH. I liked it but...that ending. GAH.
Thanks @grumpasaurus for the film school explanation of why Branagh's version is such a mess.
I just have ONE question:
WHY were they in the train tunnel. WHY.
And WHY did it seem like Poirot was having some weird mid-life crisis of masculinity all over the place? Geez man, keep it together.
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The third Orient Express....SIGH. I liked it but...that ending. GAH.
Thanks @grumpasaurus for the film school explanation of why Branagh's version is such a mess.
I just have ONE question:
WHY were they in the train tunnel. WHY.
And WHY did it seem like Poirot was having some weird mid-life crisis of masculinity all over the place? Geez man, keep it together.
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The third Orient Express....SIGH. I liked it but...that ending. GAH.
Thanks @grumpasaurus for the film school explanation of why Branagh's version is such a mess.
I just have ONE question:
WHY were they in the train tunnel. WHY.
And WHY did it seem like Poirot was having some weird mid-life crisis of masculinity all over the place? Geez man, keep it together.
-
The third Orient Express....SIGH. I liked it but...that ending. GAH.
Thanks @grumpasaurus for the film school explanation of why Branagh's version is such a mess.
I just have ONE question:
WHY were they in the train tunnel. WHY.
And WHY did it seem like Poirot was having some weird mid-life crisis of masculinity all over the place? Geez man, keep it together.
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But let's be clear, the BEST Orient Express denouement is in Poirot, Season 12's depiction. David Suchet ATE this episode. He left NO notes.
The moral quandary Poirot experiences; his distaste for murder and the obscenity it is. What makes this reveal so good is its bookend: the beginning of the episode. His moral clarity after accusing a young officer who commits suicide from his guilt and later his disgust when witnessing the stoning of a woman in Istanbul for adultery. These moments are a foil to his dilemma at the end of the episode: let them go and rebuke his moral clarity and faith? or accuse them as the mob they were?
This episode is so effing layered. None better.
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But let's be clear, the BEST Orient Express denouement is in Poirot, Season 12's depiction. David Suchet ATE this episode. He left NO notes.
The moral quandary Poirot experiences; his distaste for murder and the obscenity it is. What makes this reveal so good is its bookend: the beginning of the episode. His moral clarity after accusing a young officer who commits suicide from his guilt and later his disgust when witnessing the stoning of a woman in Istanbul for adultery. These moments are a foil to his dilemma at the end of the episode: let them go and rebuke his moral clarity and faith? or accuse them as the mob they were?
This episode is so effing layered. None better.
-
But let's be clear, the BEST Orient Express denouement is in Poirot, Season 12's depiction. David Suchet ATE this episode. He left NO notes.
The moral quandary Poirot experiences; his distaste for murder and the obscenity it is. What makes this reveal so good is its bookend: the beginning of the episode. His moral clarity after accusing a young officer who commits suicide from his guilt and later his disgust when witnessing the stoning of a woman in Istanbul for adultery. These moments are a foil to his dilemma at the end of the episode: let them go and rebuke his moral clarity and faith? or accuse them as the mob they were?
This episode is so effing layered. None better.
-
But let's be clear, the BEST Orient Express denouement is in Poirot, Season 12's depiction. David Suchet ATE this episode. He left NO notes.
The moral quandary Poirot experiences; his distaste for murder and the obscenity it is. What makes this reveal so good is its bookend: the beginning of the episode. His moral clarity after accusing a young officer who commits suicide from his guilt and later his disgust when witnessing the stoning of a woman in Istanbul for adultery. These moments are a foil to his dilemma at the end of the episode: let them go and rebuke his moral clarity and faith? or accuse them as the mob they were?
This episode is so effing layered. None better.
-
But let's be clear, the BEST Orient Express denouement is in Poirot, Season 12's depiction. David Suchet ATE this episode. He left NO notes.
The moral quandary Poirot experiences; his distaste for murder and the obscenity it is. What makes this reveal so good is its bookend: the beginning of the episode. His moral clarity after accusing a young officer who commits suicide from his guilt and later his disgust when witnessing the stoning of a woman in Istanbul for adultery. These moments are a foil to his dilemma at the end of the episode: let them go and rebuke his moral clarity and faith? or accuse them as the mob they were?
This episode is so effing layered. None better.
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Which brings me to Murder on the Orient Express.
There are three to choose from - and they are all among my favorites but for different reasons.
The most thorough - Albert Finney's Poirot cracking the whip over all the killers in 1974's Orient Express.
His Poirot is weird. Like, grotesquely odd and sweaty. But then, Finney is grotesque, too. But he puts the case together in a precise, detailed, and meticulous way. He accounts for all the gaps in plot and brings all the flashbacks together for the slower members audience. I also just love Michael York's curls. They're so BIG.
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Which brings me to Murder on the Orient Express.
There are three to choose from - and they are all among my favorites but for different reasons.
The most thorough - Albert Finney's Poirot cracking the whip over all the killers in 1974's Orient Express.
His Poirot is weird. Like, grotesquely odd and sweaty. But then, Finney is grotesque, too. But he puts the case together in a precise, detailed, and meticulous way. He accounts for all the gaps in plot and brings all the flashbacks together for the slower members audience. I also just love Michael York's curls. They're so BIG.
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Which brings me to Murder on the Orient Express.
There are three to choose from - and they are all among my favorites but for different reasons.
The most thorough - Albert Finney's Poirot cracking the whip over all the killers in 1974's Orient Express.
His Poirot is weird. Like, grotesquely odd and sweaty. But then, Finney is grotesque, too. But he puts the case together in a precise, detailed, and meticulous way. He accounts for all the gaps in plot and brings all the flashbacks together for the slower members audience. I also just love Michael York's curls. They're so BIG.
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Which brings me to Murder on the Orient Express.
There are three to choose from - and they are all among my favorites but for different reasons.
The most thorough - Albert Finney's Poirot cracking the whip over all the killers in 1974's Orient Express.
His Poirot is weird. Like, grotesquely odd and sweaty. But then, Finney is grotesque, too. But he puts the case together in a precise, detailed, and meticulous way. He accounts for all the gaps in plot and brings all the flashbacks together for the slower members audience. I also just love Michael York's curls. They're so BIG.
-
Which brings me to Murder on the Orient Express.
There are three to choose from - and they are all among my favorites but for different reasons.
The most thorough - Albert Finney's Poirot cracking the whip over all the killers in 1974's Orient Express.
His Poirot is weird. Like, grotesquely odd and sweaty. But then, Finney is grotesque, too. But he puts the case together in a precise, detailed, and meticulous way. He accounts for all the gaps in plot and brings all the flashbacks together for the slower members audience. I also just love Michael York's curls. They're so BIG.
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Still a solid reveal, though not as good as Death on the Nile -- Evil Under the Sun (1982):
This one was good, campy fun. Scenery chewed to a pulp. And the HATS. Omg, the hats and costumes in this one.
This reveal depended on backstory and another time trick. Ah, low-tech times. The red herring suspects aren't that plausible (seriously, Roddy McDowall?) but it's a good revelation of cold blooded scheming for money (what else?) PLUS a makeover.
I'm a sucker for a good makeover.
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Still a solid reveal, though not as good as Death on the Nile -- Evil Under the Sun (1982):
This one was good, campy fun. Scenery chewed to a pulp. And the HATS. Omg, the hats and costumes in this one.
This reveal depended on backstory and another time trick. Ah, low-tech times. The red herring suspects aren't that plausible (seriously, Roddy McDowall?) but it's a good revelation of cold blooded scheming for money (what else?) PLUS a makeover.
I'm a sucker for a good makeover.
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Still a solid reveal, though not as good as Death on the Nile -- Evil Under the Sun (1982):
This one was good, campy fun. Scenery chewed to a pulp. And the HATS. Omg, the hats and costumes in this one.
This reveal depended on backstory and another time trick. Ah, low-tech times. The red herring suspects aren't that plausible (seriously, Roddy McDowall?) but it's a good revelation of cold blooded scheming for money (what else?) PLUS a makeover.
I'm a sucker for a good makeover.
-
Still a solid reveal, though not as good as Death on the Nile -- Evil Under the Sun (1982):
This one was good, campy fun. Scenery chewed to a pulp. And the HATS. Omg, the hats and costumes in this one.
This reveal depended on backstory and another time trick. Ah, low-tech times. The red herring suspects aren't that plausible (seriously, Roddy McDowall?) but it's a good revelation of cold blooded scheming for money (what else?) PLUS a makeover.
I'm a sucker for a good makeover.
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Favorite denouements:
The reveal in Death On the Nile (1978)
Excellent reenactment; Poirot is not too over the top here; the red herring suspects are still plausible; and the reveal is both satisfying and sad.
The remake with Branagh could only WISH it approached this perfection. GAH. It was so bad.
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Favorite denouements:
The reveal in Death On the Nile (1978)
Excellent reenactment; Poirot is not too over the top here; the red herring suspects are still plausible; and the reveal is both satisfying and sad.
The remake with Branagh could only WISH it approached this perfection. GAH. It was so bad.
-
Favorite denouements:
The reveal in Death On the Nile (1978)
Excellent reenactment; Poirot is not too over the top here; the red herring suspects are still plausible; and the reveal is both satisfying and sad.
The remake with Branagh could only WISH it approached this perfection. GAH. It was so bad.
-
Favorite denouements:
The reveal in Death On the Nile (1978)
Excellent reenactment; Poirot is not too over the top here; the red herring suspects are still plausible; and the reveal is both satisfying and sad.
The remake with Branagh could only WISH it approached this perfection. GAH. It was so bad.
-
Favorite denouements:
The reveal in Death On the Nile (1978)
Excellent reenactment; Poirot is not too over the top here; the red herring suspects are still plausible; and the reveal is both satisfying and sad.
The remake with Branagh could only WISH it approached this perfection. GAH. It was so bad.