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Thursday, January 2nd, 2020
10:18 pm - Collected Fanfiction Post
Links to all fanfiction I've written in various fandoms. That I'm admitting to.

Alias )

Angel the Series )

Babylon 5 )

Battlestar Galactica )

Breaking Bad )

Buffy the Vampire Slayer )

Citizen Kane )

David Copperfield )

Doctor Who )

Farscape )

Earth: Final Conflict )

Heroes )

Highlander: The Series )

Historical Fiction )

Lost )


Merlin )

Mythology )

Once upon a time )

Order of the Air )

Penny Dreadful )

Rome )

Star Trek: Deep Space Nine )

Star Trek: The Next Generation )

Star Wars )

Sunset Boulevard )

The Americans )

The Beatles )

The Borgias )
The Godfather )

Torchwood )

X-Men )

The West Wing )

Crossovers )

current mood: exhausted

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Wednesday, February 21st, 2018
4:57 pm - Call the Midwife 7.05
Due to living through some incredibly busy weeks right now (not in a bad way, just in a "can only get online very briefly a few times" way), I didn't have a chance to catch the latest tale of midwives and their patients until now.

Spoilers are all about fear and dealing with same )

This entry was originally posted at Comment there or here, as you wish.

current mood: contemplative

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Saturday, February 17th, 2018
4:06 pm - Discovery recs
Because there won't be a new episode tomorrow (or, for me, the day after), woe.

All spoilery for the finale stories:

Tiny Cities: lovely missing scene for the near end of the episode, Michael and Saru hanging out in Paris, still processing all that happened, or trying to. The relationship between these two was one of the highlights of the season to me, and this story renders it beautifully.

Medal of Honor: Katrina Cornwell, trying to cope with both her actions and her losses. If interviews are anything to go by, Admiral Cornwell was an example of something that happens on tv now and then (famously with Spike in Buffy the Vampire Slayer, who was at first supposed to be killed off after half a season): a character originally meant to be show up only briefly but where the actor/actress in question impressed TPTB by the way they bring said character to life, and the overall story changes. I'm really glad this was the case with Kat Cornwell, and thrilled fanfic continues to explore her as well.

Turning Point (One of many): in which Michael and Admiral Cornwell talk about about a certain decision, and again, loss, but also hope.

This entry was originally posted at Comment there or here, as you wish.

current mood: energetic

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Wednesday, February 14th, 2018
10:24 am - Call the Midwife 7.04
In which we get a neat reminder of 60s space exploration, and Fred is the best why I realise the Doylist reason for Trixie’s storyline.

Read more... )

This entry was originally posted at Comment there or here, as you wish.

current mood: contemplative

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Tuesday, February 13th, 2018
11:16 am - Helau!
It's this time of the year again, or, to quote Byron:

'Tis known, at least it should be, that throughout
All countries of the Catholic persuasion,
Some weeks before Shrove Tuesday comes about,
The people take their fill of recreation,
And buy repentance, ere they grow devout,
However high their rank, or low their station,
With fiddling, feasting, dancing, drinking, masking,
And other things which may be had for asking.;)“

As usual - with two notable exceptions, I'm avoiding Carnival, but then I've had the two ultimate carnival experiences already: once in Venice, once in Rio. And in memory of those, have a photo and some links:

 photo 2007_0216Photos0098.jpg

Carnival in Venice I

Carnival in Venice II

Rio de Jainero

This entry was originally posted at Comment there or here, as you wish.

current mood: bouncy

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11:05 am - Star Trek: Discovery 1.15 (Season Finale)
When I saw the name "Akiva Goldman" in the credits, I was less than joyful, because the first script of his I've seen filmed was "Batman and Robin", and...yeah. (Checking up on his filmography since then, he's also done Dan Brown adaptions. Um. Yeah. (Otoh, in fairness, given he had an acting cameo in one of the reboot movies and is credited for the script of "The Vulcan Hello", one part of the Discovery pilot, chances are he's an ST fan, and there are two other scriptwriters named for "Will you take my hand?", the finale, as well, though he's credited with the story and direction.) Anyway, the result is a finale which is one of those weird cases where I'm completely on board with (nearly) all the story beats and the points the episode makes, it's just that I find the execution, as in the actual telling, both in pacing and dialogue, to be not up to the high standards this first season for the most part set. Basically, it's like someone mapped out a perfectly fine ending and then left it at a script that could have used a lot more editing and rewriting. Still: I did like what was actually going on (mostly) and it capped what was to me one of the best first seasons of any ST show. (Certainly better than both my best beloveds, TNG and DS9. Which doesn't mean Discovery as a show in totem will be better, not least because it had a strong arc for its lead in the first season that's not repeatable and derived much of its emotional power from it. I'm really curious how the writers will handle the next season. Just leave Akiva Goldman out of the writers' room, hm?)

Spoilers are Starfleet )

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current mood: calm

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Sunday, February 11th, 2018
6:03 pm - Well, if you say so...
Martin Scorsese and Michael Hirst want to do a tv show called THE CAESARS, about the early rulers of ancient Rome.

I, Claudius who? Rome what? Well, okay, fine, it never stopped anyone in entertainment that there are earlier versions. And given how uninspired the first half of the latest Vikings season came across to me (which is why I haven't reviewed in these very pages, gentle reader), I'm not surprised Hirst is ready to move on. Allow me some amusement, though:

He says his dramas are not documentaries but the details are rooted in history: “Just like Shakespeare’s history plays, they only start with some historical facts, then the drama takes over. You can’t have both.”

Hirst, you're not Shakespare. (Not that he's more accurate, I'll grant you.) Your shows are at their best entertaining schlock with some compelling characters. Stand by it.


The Caesars aims to give a new insight into the young Julius Caesar: “In the movies he’s usually a middle-aged guy, struggling with political complexities. But he was fantastically interesting and ambitious when he was younger.

Because clearly, a middle aged guy struggling with political complexities is dull. (So much for you, Londo Mollari, character of characters of my heart.) Btw, the idea that Caesar grew less ambitious as he grew older would amuse everyone in Rome to no end. (Or not, depending on their political pov. And state of survival.) This said, Caesar's younger years are less covered. Basically, here are young Gaius Julius Caesars I recall from the last decades:

1) The one from Xena, played by Karl Urban. Spoiler: he's a villain.
2) The one from Spartacus: War of the Damned, where he's one of main antagonist Crassus' two sidekicks. Spoiler: he's a villain.
3) The one from Colleen McCulloughs Masters of Rome book series, volume 3, Fortunes' Favourites. Meant to be a hero, but alas, she commits the dreadful mistake of Gary Stuing him into boringness, here and in subsequent volumes. (Which is why I like the first two volumes with Marius and Sulla as main characters so much better. She didn't make that mistake with those two.) (Err, Caesar is around for many more books in that series, of course, but we're talking about young Caesar specifically.
4) The one from Waltraud Lewin's YA novel about young Servilia, written in German and so my knowledge not translated into English. For my money the most interesting of the lot, though she takes some liberties as in: young Servilia and Caesar already meet when Sulla rules, Servilia just got married to Brutus and Caesar is on the run. It's a coming of age novel about Servilia, and young C. is both charming and ambigious, more of a trickster character. Also prone to fall sick with Malaria at the worst moment.

Basically, there's room for Hirst to deliver his own version to pop culture, and he's bound to use both the on-the-run-from-Sulla episode and the interlude with the pirates, but what I really want to know is whether or not he'll use the King of Bithynia as boyfriend, and not, as Colleen McCullough in her Gary Stu tale did, as a paternal friend. More Hirst talk:

A lot of the Caesars came to power when they were young, and we’ve never really seen that on screen. It’s the energy, the vitality, the excess of a young culture that’s being driven by young people.

Um, what? Octavian/Augustus was young when coming to power, granted, but Tiberius was OLD. (Part of the problem. By the time he'd finally made it to the throne, he was too bitter not to take that out on people.) Caligula was young again, whereas Uncle Claudius was old. And then Nero rounds it off with another young Caesar as the last of the Julian-Claudian dynasty. That makes three young power reachers versus three old ones (if you count Caesar himself, who most definitely was NOT young when making it to true power in Rome.

Mind you, in the most recent season of Vikings, Hirst presents an adult Alfred (who has thus the bad luck to compete with the one from The Last Kingdom, and well, that's a tough job to live up to) who gets on the throne in a decidedly ahistorical way and at an ahistorical point in his life, so I wouldn't put it beyond him to shorten the reign of Augustus so Tiberius isn't that old and sour and keeping Claudius magically young. (I mean, Lagertha looks unchanged since season 1, which means the actor playing her son Björn now looks older than she does.) And of course, this is the producer/writer who cast Jonathan Rhys Meyer as Henry VIII and kept him from gaining weight and grey hair until the very last episodes of the last season of The Tudors. What confounds me is that that Hirsts older characters are more often than not his most interesting ones. His Cardinal Wolsey was the only one I was interested in in the first season of The Tudors. To give credit where due, Hirst was the only one who really used Chapuys the Imperial Ambassador as key supporting character through the entire show, and Chapuys isn't a youngster, either, at any point. As for Vikings, Siggy was my favourite for the first two seasons (alas), and never mind Ragnar, Ekbert was the magnificent bastard for me, as played by Linus Roache and thus no spring chicken, either.

Another thing: no one would ever dispute Martin Scorsese's cinematic eye, but the combination of the two definitely makes me think "male centric saga to the nth degree". And you know, not that Rome was feminist (au contraire), but Atia and Servilia were among the most memorable characters, and I, Claudius would never have had the impact it did without Livia in the first half. In conclusion: if I were you, Michael Hirst, I'd hire some female scriptwriters to work with me.

Lastly, on an unrelated note: tomorrow I'll be busy the entire day, so I won't get to watch the Star Trek: Discovery finale until the evening, if that. Pray remember the spoiler cut is your friend, oh fellow Disco admirers, and so am I!

This entry was originally posted at Comment there or here, as you wish.

current mood: amused

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Saturday, February 10th, 2018
5:12 pm - Mais pourquoi?
First of all, for Star Trek: Discovery fans, a delightful interview with Michelle Yeoh about playing Philippa Georgiou and women in Star Trek. No spoilers for the finale, but spoilers for all other episodes of the season.

In other news: it's a minor side aspect of the Orange Menace's wish to throw himself a military parade, complete with phallic rockets and tanks, that I've seen several US and one British commenters go "...and he got the idea after his visit to France for Bastille Day? French military hahaha surrender heh heh he..." Which had me eye rolling like a mad woman. Guys, I'm on your side re: the ridiculousness of Cadet Bone Spur's wish to compensate via military equipment, truly I am. But what is it about the Anglosaxon obsession with the "French = military weaklings/cowards" stereotype? Can't you stop that?

It makes me ponder where this comes from, and why it's so specific to Americans and Brits. Because, look: until the second half of the 20th century, there was no shortage of anti French stereotypes in Germany. (And before there was a Germany, in the German states.) (Sidenote: Thankfully, the one thing even our current bunch of Neonazis, the AFD, weren't able to bring back were anti-French stereotypes. It would have been a tough sale to their members anyway, seeing as they're best buddies with Marine Le Pen.) But that was never one of them. (Which, by US/British logic, given that Germany was who France surrendered to in WWII, you'd think there was.) Usually, French-bashing came with the "immoral decadent lecher" stereotype or the "bloodthirsty conqueror" stereotype (during the Napoleonic Wars, but also earlier in the days of Louis XIV; in those eras, the French usually show up in German poetry and drama as Romans, while the German writers go through another phase of enthusiasm for good old Arminius/"Herrmann" the Cheruskan and the battle in the Teutoburg Forest). The sheer number of wars over the centuries where everyone got to play invader and invaded, defeater and defeated at different points would have made it ridiculous to claim a tendency for victory or surrender for just one side. And when you try to rally your subjects against the neighbour on the other side of the Rhine, "omg those guys want to invade us again!" always makes for better propaganda anyway. There was also a lot of unpleasant mixture of the two stereotypes with "want to seduce/rape our women" accusations thrown about.

Meanwhile, British pop culture: it's AGINCOURT AGINCOURT WATERLOO AGINCOURT WATERLOO AGINCOURT, with nary a thought given to, say, the those utterly pointless British-French wars Henry VIII. indulged in (spoiler: he didn't win), the less than glorious follow up his kids had to cope with until Calais was finally gone, too, or that Waterloo was a group effort, not a Brits versus French kind of thing.) Our armchair psychologists in the newspapers declare that it's perhaps because SOMEONE never got over the Battle of Hastings and being a Norman state with French as the official language for centuries (btw: well played, Monsieur le Presidente, promising them that tapestry) or, more recently, over the loss of Empire, but that doesn't explain why the Americans picked up that stereotype with such enthusiasm and endlessly repeat it. (Independent of party affiliation.)

Last night I had dinner with someone whose job it is to trace down inheritors if someone dies without direct heirs. And he said, apropos some US clients, that one reason why British or American law is such a headache to him every time he has to deal with it is "that they don't have the Code Napoleon as a basis for their civil law. Whereas I have no problem understanding the legalese of an Italian or even Polish lawyer, because there's that common basis". And I thought, here might be another reason for the difference in stereotypes. Because Napoleon's function in British pop culture history is to show up as a threat and be eventually defeated (by Sharpe's chip on the shoulder on land and Hornblower's manpain at sea, as one person on lj memorably put it). Not to change things on a fundamental level. And this happened here on the continent. Yes, there was the eventual defeat. (Group effort.) But before that were years in which the many principalities were restructured into more or less their current shapes and a lot of them got a modern civic law for the first time, from which their current one derives. And it's all seen as the follow up to the French Revolution as the big change on the continent, the shatterer of (ancient) worlds. Now, depending on the era and its dominant attitudes, this was seen more negatively or more positively, but one thing it would never be classified as by even the most fervent anti French chronicler/poet/politician/novelist was "weak" or just intermediary.

And then, of course, there were all those earlier centuries of even the tiniest prince of the tiniest German state desperately wanting to be Louis XIV., and building his own mini Versailles (from which we derive a great many Baroque palaces and gardens all over Germany), the nobility copying French fashion, and French being spoken by some of said nobility more fluently than they could speak German. Even when the middle class started to become dominant instead of the nobility, speaking French (and being well versed in French literature) was still regarded as a sine qua non right until English took over post WWII. With that kind of background, a "muhahha, those French, always surrendering" cliché simply wouldn't have been possible. Post WWII, of course, not only was there the utter horror of the Third Reich to confront and (eventually) accept as responsibility, but the first chancellor, Adenauer, was a Rhinelander who made French-German reconciliation a key part of his strategy. All those decades later, French-German relations are still regarded as the big European sucess story in my part of the world. Which is why the recent elections in France, before their outcome, caused angst and fears on a level that Brexit did not (with Brexit, the general reaction then and now is more in the vein of Asterix' saying "die spinnen, die Briten" (il sont fous ces Britanniques)). No Europe-friendly France, no Europe, but it's even more than that, if you're German: needing the French not to succumb en masse to their demons (insert here: Front National, racism, antisemitism, post colonial baggage of all sorts) is part self interest, because, see above, we've got a historical centuries long habit of seeing them as trend setters.

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current mood: confused

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Wednesday, February 7th, 2018
7:00 pm - New trailer...
for Jessica Jones, season 2! (And it's really a new trailer, not the teaser trailer from a few weeks back.)

Thoughts: as opposed to s1, this isn't based on anything in the Alias comics that I can recall, but it's been years since I've read them. Still, in them, Jessica's super powers truly were an accident as far as I remember (correct me if I'm wrong). Considering various of the MCU tv shows have made "sinister organizations experiment on human beings" a thing, and the last episodes of s1 had dropped heavy hints one of those ominous firms would be Jessica's next major antagonist to defeat, I'm not surprised they follow through. (Also, it fits with Luke Cage's reveal of where his powers come from.)

Speculation: seems that rival PI from the trailer is also a superpowered person? And will be another antagonist?

More speculation, and this one cut for possible spoilers - not that I'm spoiled, I'm just guessing based on this trailer, but if I'm right, it will be a major twist: Possible spoilers abound. )

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current mood: hyper

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Tuesday, February 6th, 2018
1:19 pm - Meanwhile, on another planet...
How other famous fictional detectives would have solved the murder of Laura Palmer All versions are witty, but the Philip Marlowe and the Phryne Fisher one cracked me up especially. Though I note with disapproval that wihile Poirot is represented, Miss Marple is not. Clearly, the Log Lady would have told her everything she needed to know on the first day. :)

Speaking of Twin Peaks, at first I had no intention of watching The Return, because I didn't feel a sequel was necessary, but then [profile] abigail_n's favorable review made me curious, so I marathoned it. And... I can see all her points, but my own impression was far more negative. Not least because there were elements in it which to me felt gratitiously spiteful, such as the fate of Audrey Horne, or disturbing in an unintended way (there's also plenty of deliberately disturbing, but that's a given with Twin Peaks), to wit, things like Janey-E blissfully declaring something spoilery ). But also because while the original Twin Peaks was not short of female suffering (I mean, the premise alone...), it had a lot of female pov characters as well (Donna, Audrey, Josie, Norma, Shelley). Twin Peaks: The Return, otoh, feels relentlessly male pov to me, and that in combination with the sheer number of abused female characters was very off-putting.

All this being said: Lynch's visual imagination is as good as ever, and I don't regret having watched it, not least for the incredible tenderness of the conversations between Hawke and Margaret, aka the Log Lady, which were filmed while the actress was dying. Oh, and given it's David Lynch, I should have known he'd cast Laura Dern as Diane. It's now impossible to imagine anyone else in that role, and as the recipient of all those tapes.

I've also continued my Star Trek: Enterprise watching to the point where the infamous post-9/11 narrative shift happens, and great maker, as Londo Mollari would say, is it ever immediately noticable. So that feels as good a point as any to look back at the first two seasons with a couple of observations.

1.) At its best, the show uses its early space flight/no Federation yet setting quite well, and certainly does a better job than Voyager did recalling its ship and crew don't have the Starfleet resources for repairs and restocking at their disposal whenever they need them. The episode when Enterprise has to undergo repairs at a fully automated alien station also struck a good balance between satire (for those of us in need of repairs and unable to talk to a human being, going from automated message to automated message instead) and suspense (the reveal about the extra price may have been a tad predictable, but it worked). Also, I appreciate that through the first two seasons there are repeated scenes where our heroes marvel at some space phenomenon in joy and awe - as explorers who'd never been in deep space before and had not seen pictures would.

2.) Otoh, when the show does the genre- and franchise immanent tropes, it rarely if ever rises above formula. This is where the comparison to Star Trek: Discovery is most striking to me. Discovery also does tropes, but delivers them with original twists. When Enterprise does Episode With Alien Princess And Male Starfleet Officer, it follows the same beats we've seen on TOS, on TNG. When it does "Enemy Mine" (another Trip episode), it does so by the letter. It's not that the result is objectionable (I like "Enemy Mine" stories! I do! And the alien pilot here can act better through his latex than Padma Lakshmi without any in the Princess episode), it's that there is no particular twist unique to this particular show in it. (Meanwhile, TNG gave us Darmok, which for my money is still the best ST twist on this particular tale, and not just because Patrick Stewart gets to tell the tale of Gilgamesh.) Whereas, when Discovery does a time loop episode, it does so in a way that's different from the TNG version, or for that matter the Xena and Buffy versions, furthers the relationships between regulars (Michael Burnham & Paul Stamets, Michael Burnham & Ash Tyler) and expands everyone's characterisations (plus the way our heroine forces the antagonist of the episode to reset the loop one more time is both inventive and outstandingly brave).

3.) Back when I had watched the fourth season without having watched more than the first three episodes of the first or any other season, I said that I found Malcolm Reed and Travis Mayweather bland as characters, without defining characterisation. Which I take back now; in the first two seasons, they get ample characterisation unique to them. Hoshi so far had to do more in s1 than in s2, and I do wish they'd have given her more scenes with T'Pol, because the few they get are always very interesting.

4.) At least two of the episodes are outstanding examples of HOW NOT TO WRITE MORAL DILEMMA EPISODES. Good lord, Berman & Braga. I haven't seen such tone deaf examples of "episode thinks it tells one story while actually coming across as telling something completely different" since TNG's The Outcast (aka the one where the writers' idea had been to do a sympathetic allegory about homosexuality while the result, not least due to the casting of the supposedly androgynous species by solely female actors, came across as Riker versus the planet of the intolerant lesbians). What I'm referring to: "Dear Doctor" in season 1, and "The Congenitor" in season 2. "The Congenitor" irritated me more because for the most part, I thought it worked quite well until we came to the denouement. It was a painful joy to see Andreas "G'Kar" Katsulas again, and his parts of the episode were one of those "space exploration is amazing!" scenes Enterprise, when it wants, does in a heartfelt way. I also before the denouement thought that the presentation of the aliens as both technologically advanced, friendly and, as was revealed through the episode, doing something spoilery that goes to the core of the ep ) But this is not what this episode does. It claims this is about cultural differences, and Trip having made the mistake of trying to impose his values on a culture he knows next to nothing about. And nobody, at any point, calls it the spoilerly thing it really is about. )

5.) Oh good lord, the bio gel really is as awkwardly fanservice-y as the introduction episodes made it look. I think the most awkward (and very, very American) thing about it is that T'Pol, who ends up in these scenes more often than the rest of the gang, always keeps her underwear on. Look, writers, if it's for de-contamination, you have to put the stuff on your entire skin, surely? *Note to self: don't go off on a tangent about how to do Sauna again*

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current mood: discontent

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7:06 am - Call the Midwife 7.03
In which reality ensues, and our heroines try their best to cope.

Read more... )

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current mood: anxious

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Monday, February 5th, 2018
11:07 am - Star Trek: Discovery 1.14
In which we're set up for a finale by everything moving into place.

spoilers are classified )

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current mood: contemplative

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Sunday, February 4th, 2018
7:36 pm - Vid recs
[community profile] festivids came and went, and yours truly, who can't create vids,only admire them, was delighted. By a great many of them, but here are three favourites:

Star Trek: Discovery:

Learn to let go A beautiful character portrait of Michael Burnham. (Footage from the first half of the season, no spoilers for the second.)

Grace and Frankie:

You're aging well : I don't watch too many sitcoms, but Grace and Frankie is among the few. This is a wonderful love declaration to the two leading ladies. (As played by Jane Fonda and Lily Tomlin, about whom the same thing could be said.)

Robin Hood:

Not gonna take it: from the 1938 ADventures of Robin Hood, in all its technicolor swashbuckling glory. My favourite Robin will always be the fox of Disney fame, but Erol Flynn isn't half bad, either. :) (Also: Basil Rathbone duels better than any Sheriff since.) Just great fun.

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current mood: cheerful

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Friday, February 2nd, 2018
7:05 pm - Quadropedled subsidiaries unite!
Fine, universe. I give in. No longer am I Team Spot; I've switched to Team Porthos. Sorry, Data, I still love your poem to your cat, but the beagle won me over re: most favourite ST pet. (Livingstone the fish was never in the running.) And I'm not even a dog person, I usually always prefer cats. But did Spot get a whole episode centred on its well being? Spot did not. 'Twas the big eyes that did me in. And now I have to retrospectively angst about Scotty, the bastard, and what he did to Porthos in the Rebootverse! (I mean, given dog life spans, chances are this was a Porthos descendant rather than Porthos Prime, but you know, a transporter accident, and Porthos (Prime?) never seen again, this makes me worried. Because precedent.

...incidentally, I wonder whether we'll ever see Merkin the Tribble again on Discovery?

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current mood: anxious

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Wednesday, January 31st, 2018
2:15 pm - Courtesy of streaming: shows marathoned
Marathoned in recent months:

The Marvelous Mrs. Maisel, first season: in a word, living up to its title. The heroine is indeed marvelous, most of the characters around her are endearing in varying degrees but always entertaining, the scripts are witty, and the overall premise of the season – 1950s New York housewife suddenly finding herself sans husband and home starts to strike out on her own as stand-up comic – is delivered with verve. It’s a show that passes the Bechdel test in every episode without even trying, not least because of the key relationship between Miriam „Midge“ Maisel, our heroine, and Susie Myerson, who runs a bar/improv stage and, spotting Midge’s talent, wants to become her manager. Ideal if you’re looking for smart entertainment without violence but with a (comic) punch.

Wynona Earp, season 2: continues to remind me of 1990s fantasy shows in its mixture of cheesiness and emotional power. I do have some nitpicks: which are spoilery. )

All this being said: still loved the season, everyone’s relationships developing further, the flashbacks with their new intel on pre-demon Bobo, and the general mixture of humor and drama. Keep at it, show!

Lastly, because watching Discovery made me hungry for more Star Trek again, I decided to give Enterprise another shot. To recapitulate: originally watched the first three episodes s1, was not impressed and dropped it, years later watched the entire fourth and final season at [personal profile] bimo‘s recommendation who also said it’s more or less its own thing, and I did like the fourth season, though not so much I was motivated to watch the rest of the show. Now I’m well into s1 and am happy to report that Archer, whom I found insufferable for the first three eps back then (still do during those eps; he wasn’t the only reason why I didn’t watch the show, but he certainly was one of them), later on becomes tolerable. (I’m prepared for this to change again later as I was warned s3 is when post 9/11 syndrome strikes in the writing.) And I do like the rest of the crew, plus the first season’s emphasis on exploration. (Had a weird moment when I realised the sight of the Klingons in their post TOS, pre-Discovery design Space Viking glory made me feel downright nostalgic, and the Klingons were never favourites of mine, but still – oh, for the days when the Klingon actors weren’t entirely covered in latex!) It’s not a series that captures me the way Discovery managed to once we were in 1.4 or 1.5. territory, but the first ENT season actually holds up reasonably well when compared to such duds as TNG’s first season (TNG together with DS9 is my overall favourite Trek, but I don’t think any TNG fan in the world will claim that the first season was good.) T’Pol being stuck with the cat suit, well, what else is new. (As has been observed several times, you can tell that Discovery is the first Trek show ever with a female costume designer.) There even are some not predictable episode endings, as with the last one I watched, with its emphasis on Dr. Phlox.

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current mood: calm

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Tuesday, January 30th, 2018
10:12 am - Call the Midwife 7.02.
Given this is the second time Narrator Old Jenny mentions it's 1963 and brings up what a magical moment it was, what are the odds she - or someone else will quote Philip Larkin before the season is over? (And/or the end of the Chatterley ban, and the Beatles' first LP.)

On to the episode proper.

Read more... )

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current mood: amused

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Monday, January 29th, 2018
4:22 pm - Star Trek: Discovery 1.13
Spoilers have no idea wherere we go from here and love this about the show )

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current mood: good

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Saturday, January 27th, 2018
3:55 pm - January Meme: Storytellers and storytelling in Black Sails
„We’re all stories, in the end“, says not just River Song on Doctor Who but Captain Jack Rackham in Black Sails‘ final episode. Black Sails works on so many levels; one of them is a very meta meditation on storytelling and storytellers.

The show’s cast of characters is a mixture of characters derived from a literary classic, Treasure Island, characters based on historical figures (with considerable liberties taken), and characters invented for this particular show. While there is no fourth wall breaking as such, many of the characters are very much aware they’re part of a narrative; trying to control said narrative and/or trying at least to use it to their advantage is very much on top of many a character’s agenda.

Who tells your story? )

The Other Days

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current mood: thoughtful

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Friday, January 26th, 2018
4:00 pm - January Meme: Doc Holliday in Wynona Earp
When [personal profile] zahrawithaz first asked me about this topic, I hadn’t watched the second season yet, so I didn’t think I could do it, but thankfully, Netflix has put it up by now. So: John Henry „Doc“ Holliday, Wynona Earp edition, and why I like him.

Spoilers have coughed up their conscience with their lungs years ago )

The Other Days

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current mood: contemplative

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Thursday, January 25th, 2018
1:52 pm - January Meme: (Some) of my favourite Tenth Doctor moments
Gentle readers, a plea first: I know I have several people in my circle/on my flist who can’t stand the Tenth Doctor. Now, I have my share of characters whom I dislike. And sometimes it feels very therapeutic to list all the reasons why. I understand the urge completely. However, there is a time and a place for such exercises. Comments to a journal entry where I list my some of my favourite Tenth Doctor moments aren’t one of them.

Disclaimer the second: I’m referring to David Tennant’s Doctor as the Tenth Doctor in this post not because I’m discounting John Hurt’s Doctor, whom I love, but because it makes my fannish life easier to stick with the old numeration.

With that said, allons-y! )

The Other Days

This entry was originally posted at Comment there or here, as you wish.

current mood: pensive

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