I slept fairly well last night, the usual cinematic dreams in Atmos with full sensesurround.
I woke up kind of with a start. I was lying on my back. Then I rotated and sat up, legs over the side of the bed.
Immediately, I felt water running down my face and chest. I looked down, it was water, it was blood sluicing out of my nose.
I rushed to the bathroom and looked at my face and chest, which were both very Carrie. Tearing up a bit of loo roll, I made a little nose-tampon. It went immediately crimson but staunched the flow.
I’m very puzzled by this nosebleed as:
1. I don’t really get nosebleeds.
2. It was really hosing out of there. Think when the psi kids attack people in The Fury.
3. It must have started the instant I woke up. If it had started earlier, it would have overflowed my nostril / run down my throat. There was no blood on my sheets and I didn’t wake gargling haemoglobin so that didn’t happen.
If I saw this in a film, I’d be watching, nodding and waiting for all shitting hell to break loose.
Now, I love Murdoch Mysteries… It’s light and playful and I love the Canadian-ness of it, much as I loved the Candadian-ness of Continuum.
But every since Mouna Traoré joined the cast… well, I’ve been hypnotised by her beauty. I think I have a crush. LOOK AT THOSE EYES… omg…
It’s all too much for my old heart to take… she’s just gorgeous!
And what makes it all worse is that she is brilliant in her role as Rebecca James. She exudes this mixture of vulnerability and quiet aptitude; she’s pitches herself perfectly as a black woman pioneering into previously white domains.
I’m watching the ep Colour Blinded now which features her flirting with a dude and when she opens those eyes up, wooaahhh… I’m dead.
I also love this ep because we’ve just had someone say that people shouldn’t be praised for simply doing what they should (referring to a white bloke playing the white saviour card and lionising himself).
Point well-made, Murdoch writers… niiice.
And, yet again, like Ripper Street, we have a historical drama stoutly not portraying anachronisms and yet dealing with issues many contemporary dramas are too cowardly to address.