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@john-deco
I havenât finished my Death on the Nile script adaptation/rewrite, but I think I have enough to share and see what people think. Would any of moots or followers be interested in seeing the active Google Doc and partake in leaving comments for feedback and suggestions?
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Just got what is arguably the holy grail of Agatha Christie/Poirot media
if hercule was peak, their tease of âone particular nemesisâ would actually refer to the final episode, which would finish with an mcu-esque post-credits scene of a middle-aged miss marple buying a ball of pink wool to make a scarf with
fullbody ref for black without his trench coat. i meant to make this a full ref but i got tired lol
Would anyone happen to know what the copyright would be on moustache styles taken directly from an existing film?
Letâs just say I had a fun idea of admiringly borrowing a moustache style from an interpretation of a sleuth that I like and maybe give it to my own sleuth. As a treat, I should add.
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Bonjour mon ami! Just wondering how close your Nile screenplay will be to the Shaeffer/Green versions.
Bonjour/Bonsoir! As my amateur screenplay currently stands, Iâm about to get into Simon Doyleâs first interview alongside Bessner and Louise Bourget. In terms of comparing it to Shafferâs and Greenâs script, Iâd say Iâve leaned more into the novel for more specific portions and sequences than either of their scripts. However, I did borrow a bit of Greenâs condensing Simon, Jackie and Linnet meeting at the bar, a couple of lines that stuck out to me, the Euphemia/Mrs Allerton stand in being a painter, and the general concept of having the majority of the suspects being part of an expedition because theyâre friends of Linnet. As for anything borrowed from Shaffer, it would be Bowers and Salome having a motive.
However, the real point of adaptational liberty that I am trying to figure out is what to do if I still want to keep Bouc as I have him so far with Rosalie and try to manufacture an arc for him as opposed to Poirot (since he already had his in Orient Express)
OR
Rewrite his scenes to fit the original Tim Allerton back, rewrite Poirotâs introduction in Egypt and make Cornelia Robson the central character who has to go through an arc.
Iâm leaning towards the latter because think of it. Nileâs main two themes are love, greed and bit of classism. Cornelia Robson is the perfect fit. She is stuck with her snobbish classist cousin, she buys into the glamour and not so genuine kindness of Linnet Doyle, she is finding love with Bessner, she has very cordial and polite interactions with Poirot (Papa Poirot moments, mon ami, the more the better!) and by the end she decides to take a stand and make an independent decision to go with Bessner to start anew and be completely disillusioned with her cousinâs beliefs and Linnet being this idol to her.
The fact that in the almost 90 years that this book has existed, that no adaptation has taken of making Cornelia a more prominent character and the heart of the story and a contrast to someone like Jackie is crazy!
Side notes:
I merged Bessner and Ferguson into Dr. Carl Bessner, the Anglo-German who became a marxist during his studies in the late 1920âs.
I made Colonel Johnny Race into Colonel Youseff Race and am currently trying to involve the shipâs crew in the story more often since Nile doesnât really have a real prominent Egyptian character. You know, in the story set in Egypt.
Also a couple of things Iâm keeping under wraps for the moment. And once Iâm done with this Nile script, Iâll do MotOE just to have Bouc have an arc in that alongside Poirot.
Finally got around to watching the 4-part American edit of the BBCâs 2018 adaptation of The A.B.C. Murders with John Malkovich as Poirot.
While I still have a couple of quibbles here and there with the characterizations of certain characters, and in some cases, the exclusion of one or two characters. The four part edit surprisingly flows a lot more naturally than the original UK 3-part broadcast. A scene or two have been moved to later episodes, and the investigation has a stronger presence now. That said, the broken shoe heel and boil scenes still feel gratuitously nasty for the sake of it and sometimes the darker tone really needs to hold off sometimes.
As for the element of Poirotâs backstory within the mini series, I think Phelps couldâve tied it a lot more with Poirotâs refugee status and how the murderer uses it as a ploy to undermine both Poirot and the police. Rather than some fascination with Poirot, the murderer sends the letters to Poirot for the same reason as in the novel, only with thematic layer of nationalist prejudice added onto it, which wouldâve fit with the more noticeable presence of the B.U.F in that adaptation.
TLDR; the 4 part edit is paced better, the grim tone couldâve been more restrained and there couldâve been a stronger storytelling opportunity between Poirotâs past, the murdererâs motive and the thematic undertone of how nationalism was taking prominence in the 1930âs.
To a jolly good Artfight!
An art gifting game
would you believe me if i told it's hard to draw a human man hittin' any sonic pose?
i watched the among us show and it was pretty good so i made another oc. he's black. again. But this time he's a crewmate and he has a shotgun
Again this was drawn with a mouse but my wrists werent hurting tonight
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Oh huh! I hadn't realized I didn't post this one here on Tumblr! I finished this study in early March and have plans to have it be one of 3 pieces to go together đââď¸
[ID: Digital painting of Sherlock Holmes and Toby the dog, a study of Leyendecker's "Man with a dog" (1909) for Collier's Weekly. Holmes is in his coat, striped pants, top hat and grey scarf, Toby following a trace by his side. They are painted mid-motion. /end ID]
The rule could have heavy impacts towards trans people across society.
Last week, the Trump administration quietly released a sweeping new federal rule that would use funding threats to force institutions across the country to reject transgender people. The 400-page proposed regulation would codify the administration's anti-trans executive orders into binding federal policy, imposing a blanket prohibition on federal funds going toward "gender ideology"
The proposed rule, formally titled "Regulation for Federal Financial Assistance," rewrites the government-wide framework governing all federal grants across every agency. Among its most consequential provisions, it requires that before a federal grant recipient can receive money, the award must pass a "pre-issuance review" conducted by a political appointeeânot a career expert or peer reviewerâto ensure it is "consistent with applicable law, Federal agency priorities, and the national interest." The regulation explicitly instructs these appointees to screen for "denial by the recipient of the sex binary in humans or the notion that sex is a chosen or mutable characteristic." [...] An institution that acknowledges transgender people existâthrough its policies, its training, its healthcare, its bathroom access, its HR procedures, its name-change processesâcould be deemed to "deny the sex binary" or to âsupport the notion that sex is mutableâ and have its federal funding blocked.
Importantly, the gender ideology prohibition has no age limitationâhospitals could be targeted not just for providing care to minors but for providing gender-affirming care to adults, because prescribing hormone therapy to a transgender patient of any age could be deemed promoting the belief that "sex is a chosen or mutable characteristic."
THIS IS OPEN TO COMMENT UNTIL JULY 13, 2026
This is all very bad and horrible, but I want to be clear that itâs worse and more sweeping than just eliminating trans research.
This torches everything. And I do mean everything.
A very abbreviated list of its ramifications include (but are not limited to):
ending funding for ALL DEI related initiatives
allowing the government to terminate grants at any point for any reason
preventing researchers from publishing, going to conferences, and being part of academic societies
requiring that topics must support the presidentâs agenda.
What this means, and if anything Iâm under selling it, is the death of science and research in America. It allows the government to restrict any topic they please at a whims notice, putting officials who have no background in the topic in charge of deciding funding continuity. It controls what gets researched and if/how researchers are allowed to share their discoveries. There are no books to burn if the government never allows them to be written. This is fascism plain and simple.
Please, if you only ever write one public comment, this is the one to do.
Bringing back this guide to writing an effective public comment. This gives you the basics you need to know, what you need to include, a basic outline you can follow, etc.
Public comments are not a vote, it is a chance for you to say "here is an issue with this law I think you need to address" and provide justification for legal challenges if it goes forward:
"Comments raise the bar that agencies have to meet when making a rule; âif an agency fails to adequately respond to significant, relevant comments in a final rule, members of the public may seek to challenge the rule in court on that basis and claim it could be struck down.ËŽ"
But also, if possible, don't stop at writing a comment. Don't stop at calling your representatives. You should ideally be talking to people in your community about this and organizing resistance on-the-ground; there is a good chance people are already doing that even if you aren't hearing about it.
Woke up to very disappointing but not surprising news about a certain science fiction show I watched.
Indulging with the new announcement of Bluemel as Poirot
New Hercule Poirot actor has been cast
Edward Bluemel is the new Hercule. The 33 year-old actor stars as Agatha Christie's iconic Belgian detective in a new drama titled Hercule, following Hercule Poirot's first cases in London before he becomes the world's most famous sleuth.
The series, coming to iPlayer and BBC One in the UK and BritBox in North America, is an intimate study of Hercule the man and an epic portrait of Britain between the wars. The series takes a magnifying glass to three of Christie's most celebrated stories, while also charting Hercule's burgeoning friendship with Captain Arthur Hastings, his early encounters with Scotland Yard's James Japp, and introducing him to one particular nemesis...
The six-part series is written by Benji Walters (Code of Silence, The Leopard, Obsession). Jonny Campbell (Am I Being Unreasonable?, Dracula, BAFTA winner for In The Flesh), will direct the first two episodes. Charlie Palmer (A Woman Of Substance, Extraordinary) is series producer.
James Prichard, executive producer for Agatha Christie Limited says: "My father had the privilege of working with David Suchet for nearly 25 years, and I now have the good fortune of being able to share my great grandmother's brilliant stories with a new generation of viewers. Edward Bluemel is an extremely talented performer and will make a great addition to the long line of actors that have played this celebrated character, aided and abetted by Benji Walters' thoughtful scripts. I cannot wait to see Edward on screen as Hercule Poirot."
Lindsay Salt, Director of BBC Drama says: "Hercule Poirot is one of the greatest and most loved characters of all time, and bringing him back to the BBC is a real privilege. From the first moments of Edward's audition we knew we'd found the perfect actor for Hercule, with a performance that feels both fresh and exciting, yet quintessentially Agatha Christie's Hercule Poirot. We can't wait for viewers to meet him."
Filming will begin this summer, primarily in Liverpool.
Source: BBC on Instagram, June 8 2026
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NOOOOO MRS OLIVER LOOK OUT!!!!! (*thousands of apple cores tumble onto the floor*)
