“I have no one to talk to about clothes,” Helene moans to Natasha at one point in this episode. “Will you come and advise me? We can try on things together!” Of all the bad things Helene was enticing Natasha to do in this episode, I was most alarmed by this one. Sounds like a threat more than a promise.
This episode is the worst of the worst as far as costumes go. We’ve hit a new low in this miniseries. I actually think I have to rewatch the episode, because I could not focus on the plot for more than two minutes at a time due to the enormous number of hideous frocks being flung at me in quick succession. Let’s see how much shit we can wade through here.
We have some returning favorites. These old friends are back:
Let’s be honest here, the former is a 1930s something, the latter is a re-purposed sari. They both feature completely inappropriate colors, fabrics, and construction for the time period (1811-1812 by this point).
Oh yeah, and the slutty Arwen negligee is back:
It’s so bad that you can actually see her bra underneath–a totally modern, flesh-colored shaping bra. Great, wonderful. I mean, who’s ever heard of corsets or stays in this miniseries? Those are soooo 1810. You’re so ahead of the times, girl.
Speaking of which.
Yep, she’s up to her old tricks. The flapper Grecian look.
The famously horrid red dress also makes a reappearance in an even worse guise:
I mean, the woman has devil’s horns on her head by this point–literally. Look! She’s so over-the-top mustache-twirlingly evil that I find it unbelievable that even a naive girl like Natasha is taken in by this.
This whole outfit screams Art Deco to me. I especially like her little triangular brooch with the freemason eye–like, what is that supposed to be, a gift from her loving husband? I also love the “evil queen” high collar there on the jacket (which desperately wants to be a spencer, but I will not dignify it with that name).
Her early-twentieth-century fashion tastes are obviously rubbing off on Natasha, because Natasha went and invented the bowler hat this week:
Wow, Natasha, impressive: more than half a century ahead of the fashion trend!
We also get a new player in the gross costume game this week: the ill-favored but rich heiress Julie Karagina, who also sports the Downton look:
Julie continues her Edwardian ways at the opera, with what looks like a Roaring ‘20s qipao made of black sheer, and that Art Deco headband to go with:
Her future mother-in-law there on the left opts for full-on Orientalist, which still makes her more period-appropriate than poor ugly Julie.
Strangely enough, in the midst of all these Downton outfits, we actually get a clear case of 1820s too:
This has no place in 1812, gtfo.
What’s particularly disturbing to me in this episode is the drastic acceleration of a trend that was already apparent in previous episodes: the desperate attempt to make the costumes seem oh so very “Russian,” as opposed to just the usual Pride and Prejudice types (or Downton types, as the case may be). Thus we get nonsense like extra fur lining on everything…
…and this painfully egregious example, Nikolai wearing a traditional Russian shirt underneath a 19th-century-style waistcoat:
Ugh, stop! We get it already, it’s supposed to be Russia!
Then there’s this party that Helene holds, where she has this French actress performing a selection from Racine’s Phèdre for her guests. This is what the French actress is wearing:
Hm! I didn’t know they had wild, weird, off-off-Broadway performance art in 1812 Moscow! The opera singer costumes in Natasha, Pierre, and the Great Comet of 1812 are more plausible as period theatre costumes than this, and that’s saying a lot if you’ve seen the show.
Then there’s the charming frock that Helene wears to her own party, which, I must actually remind you, is not a costume ball:
Repeat, not a costume ball. Yet she came dressed in something that looks like Xena the Warrior Princess got caught in a cotton candy machine. I especially appreciate the gold bondage ribbons all up and down her arm and randomly splayed across her chest and back…I think I know what look she’s going for here…
AN: Hi there, ANON requested a James March, so here it be. I hope you like it, this is my first try at James, and his words are weird and big and I tried to capture him the best I could. My proof-reader (aka I send her my stuff and she tells me if it’s any good) @mrmarchswife says she loves it so I feel pretty good about it. If you were wondering, I mention a few artists like Chet Baker and Benny Goodman, and both of them have songs that have featured in Hotel. Let me know if you want to hear them, they’re old timey songs that play when March is around. Also, James’ quote at the end actually belongs to Benjamin Franklin. So thanks to him. TL;DR HERE IS A THING I WROTE SO LOVE IT TELL YOUR MOM.
was the day you were going to die. You didn’t know the fate that
awaited you, but looking back, you couldn’t be happier.
a fanart i did for a song 【ＧＵＭＩ】弱虫モンブラン (gumi - cowardly montblanc) ehee i didnt do a CG in a while so i thought maybe its the time- so here it is!! its old, i know, but i’ve always loved the song and the lyrics are so deep i love it ^Q^ DECO*27’s songs are so addicting!!
drawing the desserts are pain in the ass especially that montblanc ^q^
you can expect a bit more CGs these days so you can look forward to it (^O^)
Taking a few minutes off from doing my thesis just to put down some of my thoughts on last night’s episode. I don’t know what the general reaction has been to MotOE (I’ve managed to avoid spoilers here on Tumblr, since we only get torrents and stream links of Doctor Who episodes on Sunday mornings), but frankly, I don’t care. I loved it.
For one, I really like the whole tribute to the Agatha Christie/whodunit genre. I’m a fan of the old Poirot series starring David Suchet (I even spent one whole summer binge-watching the series from its very first season), and it was lovely to see the whole Art Deco/Jazz Age era come to life in a space train. The costumes were fabulous – Peter Capaldi looking extremely smooth and dapper and absolutely handsome in a tuxedo with a ribbon tie, and Jenna Coleman looking every inch a 1920s vixen with her bobbed hair and glittery flapper girl dress, and that plunging neckline that was an outward sign of how un-G-rated this episode (or for that matter, this show) really is underneath it all.
But okay, I’ll just say it: this is all about Whouffaldi (or Twelve x Clara, whichever you prefer). I never outright shipped them, maybe because when Danny Pink first showed up I actually thought he and Clara would be cute together. I was also never on board with Whouffle or Souffez, mainly because the writing back in Series 7 felt a bit too forced, and the chemistry between Eleven and Clara just didn’t work well enough for me. But my God, when Twelve showed up and then the writers decided to bring the show to a darker, less rainbows-and-happy-endings sort of turn, I figured that with the character development that has been going on in Series 8 so far, as well as with how relationship-centered the series has been, all the no flirty-wirty disclaimers the producers gave at the onset of the series was all, well, bullshit.
Even The Guardian recognizes how much chemistry Twelve and Clara have:
This dripped with so much sexual tension you could make a compelling case for the DVD getting a 12A certificate. It was the Doctor and Clara’s last hurrah, him tuxed up, her in a cocktail dress, both completely impervious to what was appropriate. Clara has decided she’s had enough, and god, are they dragging it out, all loaded moments and unsaid truths. Those forlorn stares and stolen glances are not those of a man with paternal intentions. This was Romancing the Stone. It was Moonlighting. It may have just been a nod to the genre, but nobody even try to deny it – this was hot.
And yes, I agree. This was the sexiest episode of Doctor Who in a long time. Because how could it not be? It was supposed to be their last journey together, their “last hurrah”. It had break-up sex written all over it. From the moment they stepped into the main carriage of the Orient Express, with the two of them recognizing that this may be the last time they would do this ever again, it was as though kerosene was poured all over the spark that was only being hinted at in previous episodes. The way he looked at her as they sat together, looking out towards the stars; the way her voice would shake ever so slightly and how she told him that she couldn’t hate him; that conversation in the dark corridor, his voice low and full of unsaid things when she realized that she may never see him again; the way they clinked their glasses together with lingering looks at each other (and cue saxophone-filled sexy jazz background music). If this weren’t a kids’ show I would have expected them to have started grabbing at each other and pushing themselves into the nearest room to fuck each other’s brains out. Then there was that scene in the Tardis, when Clara’s on the phone with Danny and she says “I love you” to him but she’s staring at the Doctor. We don’t actually see her at that particular moment, but the camera focuses on the Doctor’s face and his reaction when he hears her say it. I don’t know but I think this was all very deliberate. The writers know what they’re doing, they have a very specific plan for these two. But of course, as with every companion in New Who (especially those that the Doctor becomes extremely emotionally invested in), this isn’t going to end well.
The naysayers (admittedly, I was one of them at the beginning, but who am I kidding) deny that there’s anything even remotely romantic between Twelve and Clara, and granted, it might just be some platonic kind of love between them. But from the way past episodes and this one have been written, I personally don’t think it’s as simple as that. The fact that other characters and even Danny keep bringing up the Doctor’s and Clara’s relationship shows that there really is something there, something that everyone else could sense, but that the two of them either willfully turn a blind eye to. Considering that it’s been established in the past series that Clara fancied Eleven, and that more recently, the Doctor acknowledged that he made the mistake of thinking he was Clara’s boyfriend, then obviously, obviously, you can’t just resolve that by doing away with everything at the drop of a hat. With the more realistic way the relationships and characters have been progressing, it’s highly improbable that he’s simply her Space Dad. Nope, I’m not buying that.
I really admire the producers (yes, okay, Moffat, fine, you’re doing a much better job now) and writers for taking the risk and going with a whole different direction with the show. If they really are deliberately developing something with the complexity of the relationships involved and the more full-dimensioned characterizations of the Doctor and Clara, then I’m all for it. I like how daring Doctor Who has become, after all the (I’m sorry to say) feel-good tripe that lost its charm once the Ponds left the picture, and I’d honestly love to see them come up with more morally ambiguous plots and maybe even a May-December kind of relationship (romantic or not, whatever, I don’t care) that doesn’t come off as a Nabokovian kind of creepy. It’s delightfully intriguing, and I hope they don’t revert to safer storylines anytime soon.