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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 )

Doctor Who )

Farscape )


Earth: Final Conflict )



Heroes )

Highlander: The Series )

Historical Fiction )

Lost )

Merlin )

Mythology )


Once upon a time )

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, January 28th, 2015
8:58 am - Call the Midwives 4.02
In which Sister Julienne meets the road not taken, and the series tackles grief in several ways.

Read more... )

This entry was originally posted at http://selenak.dreamwidth.org/1050729.html. Comment there or here, as you wish.

current mood: contemplative

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Tuesday, January 27th, 2015
2:22 pm - ....more Marvel casting!
After Marvel delighted me already by casting Krysten "Jane from Breaking Bad" Ritter as Jessica Jones and Lemond Bishop's actor as Luke Cage, I now hear they've hired David Tennant to play the Purple Man. The main villain in Jessica's life or rather backstory. Now this isn't a casting I'd have thought of, but wow. Never mind the snide tone in the article (obviously the writer hasn't read the Alias comics), that guy is the creep of creeps, and calls for an unafraid and unvain performance, which I have no doubt DT can deliver.

This entry was originally posted at http://selenak.dreamwidth.org/1050523.html. Comment there or here, as you wish.

current mood: cheerful

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2:02 pm - Yet more Pottery thoughts
You know, I'm so with the people who hope that in another decade or so, the books will get the tv series treatment, because the more I think about them, the more dissatisfying the film versions get. There's just sooo much missing, from book!Harry's snarky attitude to some of the most interesting subplots. Now I'm not saying the books were perfect, far from it, or that adaptions into another medium shouldn't/couldn't make different choices. But in the HP case, when they did dare to make changes, the changes in question tended to make things worse, not better.

One of the chief examples: the Slytherins in the battle of Hogwarts. The fact that none of the Slytherin students and of the teachers only one (Horace Slughorn) battles Voldemort & Co. along the other houses in the final battle has come in for (justified, imo, given the "we must unite" theme earlier) criticism. (Sidenote: doesn't mean I think the majority of Slytherin students should have stayed, that would have been unrealistic given what was previously established, but a couple of them? Absolutely.) The movie manages to make a questionable creator choice worse and manages to rob it of some of the good aspects. Compare and contrast:

Film: Voldemort telepathically tells everyone at Hogwarts either to surrender Harry to him, or be killed. Pansy Parkinson suggests to grab Harry and hand him over. Students of the other houses rise to place themselves protectively around Harry. McGonnegall gives the order to escort all the Slytherin students into the dungeons. Cheers from everyone else.

Book: Post-Snape's flight, McGonnegall tells a flustered Slughorn who asks what the hell just happened that Slytherin House will have to make a choice as to where their loyalty lies and that they should either stay and fight, or leave. Slughorn is somewhat panicked at the thought of going up against Voldemort. Voldemort does his telepathic "Surrender Potter, or else" demand thing. Pansy suggets handing over Harry. Non-Slytherin students surround Harry. McGonnegall orders Pansy and the rest of the Slytherin students to be escorted off the Hogwarts premises into Hogsmeade (cheers from the other houses); later adds the younger students of the other houses and anyone of the older ones who doesn't want to join the fight to the general evacuation. All the Slytherin students, the younger kids and some, but not many of the older ones leave. Slughorn supervises their evacuation from Hogwarts, then returns along some of the Hogsmeade inhabitants in time for Voldemort's second wave of attack on the castle. (Slughorn is still, as Harry notices when he passes him, in his emerald pyjamas.) There's no suggestion Slughorn shirks fighting; later Harry spots him battling Voldemort himself at McGonnegall's side. Now, in addition to the fact that escorting ALL the younger students off the premises of an impending brutal battlefield is a really good (and responsible) idea and that they should have kept it in the film version, at least in dialogue reference if they didn't want to show any evacuation scenes, here McGonnegall's "fight with us or leave" may be unkind but in a situation of impending batlte makes strategic sense (she can't afford anyone staying who is more willing to sabotage than fight), and it comes as a choice, not a preempting condemnation. Also, Aberforth Dumbledore, through whose pub all the students were evacuated, furiously asks Harry why they didn't keep some of the kids of the Death Eaters hostage. Harry replies that a) Voldemort wouldn't care (example to go by: Draco Malfoy, the reader might add), and b) not cool. Which I thought was a great case in point for the type of pragmatic compassion Harry has reached at this point of the saga. It also shows that Aberforth, while a good postumous counterpoint to Albus and delivering criticism of same that the reader is supposed to take seriusly, is no saint, either.

Speaking of Dumbledore criticism, the movies make the baffling choice of keeping some hints of his backstory but never bothering to deliver an explanation, which I think is the worst of both worlds. Either cut out the backstory altogether, or keep the entire Dumbledore backstory reveal. But just hinting there was something up with his family and then later via Aberforth that it has to do with their sister, without explaining exactly what, keeping the photos of the youthful Grindlewald and Dumbledore without any of their connection ever mentioned verbally, and cutting anything in the King's Cross conversation between Harry and Dumbledore that relates to Dumbledore's past and his deep regrets, his self loathing, only leaving Dumbledore in his usual wise mentor delivers exposition role...? Bah.


On another note: something that movies and (a lot of) fanfiction do have in common is that they remove not only Harry's tendency towards sarcasm but also Snape's pettiness. Seriously: Snape is still one of the most interesting and compelling characters of the saga to me, but he's the uncontested winner for "most petty" by far. Fanon usually goes with "but he had to maintain his cover!", but I very much doubt Voldemort's belief in Snape's loyalties depended on such gems as Snape making Harry copy detention notes on his father and Sirius in the year after Sirius' death. Fanon!Snape never does that kind of stuff. (Movie Snape didn't, either.)

Speaking of fanon, I've come across several stories in which Slughorn treats young Severus unfairly and ignores him while favouring Lily. Where the hell does this come from? What book canon gives us: Slughorn was into students who were either talented or socially well connected. Lily was one of his favourites (btw, The Half Blood Prince marks a switch from people telling Harry about his father to people, in this case Slughorn, telling him about his mother), but there is absolutely no indication he didn't also spot and encourage young Severus the potion genius. On the contrary. In the present, Slughorn immediately spots how gifted Hermione is and encourages her, never mind she's a Gryffindor. (As opposed to, you know, Severus Snape, whose behaviour towards Hermione varied between ignoring her, telling her she was an insufferable know-it-all in front of the class and insulting her physical appearance - "I can see no difference".) And then we get this scene, where Slughorn raves about Harry's gift with potions at one of his gatherings (due to, unknown to Slughorn, Harry having "The Half Blood Prince"'s text book):

"Instinctive, you know - like his mother! I've only ever taught a few with this kind of ability, I can tell you that, Sybill - why, even Severus -'
And to Harry's horror, Slughorn threw out an arm and seemed to scop Snape out of thin air towards them.
'Stop skulking and come and join us, Severus!' hiccoughed Slughorn happily. 'I was just talking about Harry's exeptional potion-making! Some credit must go to you, of course, you taught him for five years!"
Trapped, with Slughorn's arm around his shoulders, Snape looked down his hooked nose at Harry, his black eyes narrowed. 'Funny, I never had the impression that I managed to teach Potter anything at all.'


Leaving aside this is JKR at her comic best (and also foreshadowing, given the identity of "the Prince"), this certainly doesn't give me the impression Slughorn used to overlook Snape in Snape's student days, on the contrary. I bet he told him "stop skulking and come and join us, Severus" a lot. :) Consequently, I suspect the idea of Slughorn ignoring young Snape hails more from the subconscious or conscious fanon that child and teenage Severus didn't get any encouragement from not-evil people and therefore had no choice but to fall in with the Death Eaters.

Lastly, Horace Slughorn: non-evil Slytherin who never was a killer and doesn't die is generally an interesting creation. He's not without bias; his initial reactions to Muggleborns doing well is still a surprise, even if the second is to take to the gifted person in question, which makes him an hitherto unprecedented in between as far as the HP saga's fantasy racism depiction is concerned. (I.e. pre-Slughorn, you had on the one hand racists using the term "Mudblood", marked for future Voldemort service, and otoh non-racists utterly believing in equality). And of course, you can argue whether networking and collecting gifted and well connected students is what a teacher should do. But he deeply abhors murder (when we finally get the real memory of him and Tom Riddle, that's what shocks him out of Riddle's conversation - "Seven! Isn't it bad enough to think of killing one person? And in any case... bad enough to divide the soul... but to rip it into seven pieces..."), and while he loves his creature comforts and has an instinct to evade rather than confront past mistakes, he comes through and puts his life on the line when everything is at stake. And as opposed to McGonnegall and Snape, both of whom we see favour their own houses when teaching (while Snape does it more blatantly, McGonnegall is anything but free of this behaviour), Slughorn really seems to reward students according to their efforts; we see him repeatedly giving points to Gryffindor for academic brilliance whereas I'm struggling to recall an instant of McGonnegall giving points to Slytherin for the same reason.

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current mood: contemplative

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Sunday, January 25th, 2015
5:36 pm - Black Sails 2.01.
Season 2 is here! (If you need an s1 recap, here's my review.) I was not a little thrilled to hear Bear McCreary's score again.

Pirates, now with flashbacks )

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current mood: hopeful

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Friday, January 23rd, 2015
7:45 pm - Wolf Hall 1.01. Three Hat Trick
So far, so well done. They kept the jumping between eras of Mantel's first volume - but imo at least, it was not difficult to follow which time period we were in at which point - , and for the first episode, focused on the fall of Wolsey as a unifying theme, with Cromwell not meeting Henry (as in, actually talking to him) until the very end. Naturally, there's a lot of exposition - this is where everyone gets introduced - but the only time it came across as "as you know, Bob" clumsy to me was when Wolsey summed up Henry's marital history with Katherine for Cromwell. All the other times the information felt like a natural part of the dialogue.

Mark Rylance is very good as Cromwelll, getting across the man's intelligence and constant observation of everyone else. Not yet the ruthlessness because at this point he hasn't had a chance to exhibit it yet, but the toughness. The first episode's main emotional emphasis was in his relationship with Wolsey (and they kept the flashbacks to Cromwell Senior's treatment of him until we're two thirds in, so the audience is allowed to conclude Wolsey is Cromwell's replacement father on its own before that) and with his wife and daughters. (If you've read the novels, the younger daughter wearing her angel wings willl make you wince for more than one reason.) By contrast, the various courtiers and later players are briefly sketched. Mark Gatiss wins for character with only a few lines yet completely getting the personality and type of relationship with Cromwell across, very memorable. (He plays Gardiner.) Damian Lewis is no slouch, either, in that last scene as Henry VIII., whom everyone keeps talking about in the course of the episode, so basically he's the Harry Lime of Wolf Hall with the heavily delayed entrace. Said scene paints Henry as intelligent, still having some residual affection for the Cardinal but also no intention whatsoever to save him, and quickly deducing Cromwell can be useful.

Scenes only of significance if you either are aware of history or have read the novels: Mark Smeaton (though the last name hasn't been spoken out loud yet). "You may not think of us, Mark, but we think of you" indeed. I wonder whether anyone is watching it unspoiled by both und what they make of them?

They've cast Thomas Brodie Sangster as Rafe, and he's adorable (again); I've never had much investment in Rafe in the novels, so that was welcome (considering Rafe is one of Cromwell's most constant dialogue partners in upcoming events).

Lastly, the look: is gorgeous. All the candlelight minus electricity when filming certainly paid off. The costumes certainly look authentic (especially when compared to, err, certain other productions set within the same era). Oh, and bonus points for a Katherine of Aragon who isn't black haired but auburn (which according to all descriptions she was). She still speaks with a Spanish accent, though, which personally I doubt she still did at that point of her life (I mean, the woman has lived in England since she was 16, now it's more than two decades later).

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current mood: contemplative

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11:32 am - Elementary 3.11
In which Gregson must have an odd sense of deja vu in more ways than one.

Read more... )

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current mood: contemplative

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Tuesday, January 20th, 2015
8:57 pm - Call the Midwife 4.01
The midwives are back!

Read more... )

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current mood: contemplative

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Monday, January 19th, 2015
8:19 pm - Fanfic recs, HP edition
Some Pottery tales, if you're in the mood for fanfiction:


Academic Pursuits: a great Snape portrait offering several aspects, and while covering all his life manages, rare in Snape stories that include his relatonship with Lily, to focus on the friendship they shared when young rather than on the later pining (sidenote: I always thought making it a MUTUAL childhood friendship before things went sour was really important in canon).
In a name more Lily and Snape friendship, same author

Respite: in which McGonnagall, just before the final battle at Hogwarts, finds out a few things from Dumbledore's portrait in the headmaster's study. Great Minerva throughout, and a killer punchline.

Censorship: a look at Hermione with her parents between school terms. The way she must have self edited increasingly as her life at Hogwarts grew ever more dangerous. Oh, Hermione.

Circatrix: the three Black sisters, Bellatrix, Andromeda and Narcissa. Beautiful and subtle.

The sleeper awakes: how Percy went from supporting the Ministry to joining the resistance in the year of DH. I especially appreciate there isn't just one Eureka moment for Percy, but a gradual process.

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current mood: busy

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Sunday, January 18th, 2015
1:03 pm - Potter! (Or: some belated HP thoughts)
With spoilers for all the books, so skip if you don't want to know. Having had to write Dumbledore meta during my December posting meme made me reread some Harry Potter - not books, I don't have the time, just a few select passages - and reminded me how much I like the (book) series. I don't actively dislike the movies, but I think they get some important things wrong - Ron comes immediately to mind - and by necessity of the format sometimes cut out some of the most interesting parts, definitely the backstory related ones. Prisoner of Azkaban missing the entire Marauder backstory, the "Snape's worst memory" flashback in Order of the Phoenix not including Lily (and thus missing why this particular encounter with the Marauders is Snape's worst memory), the entire Kreacher-related Regulus story, which makes for one of the most moving chapters in Deathly Hallows. (BTW, I love Snape as a character, but Regulus wins in the Death Eater redemption stakes. Turning against your dastardly Evil Overlord because he abused and tortured your house elf is far less likely than turning against him because he's threatening the love of your life. Mind you, Regulus then coming up with a suicidal plan to foil Voldemort all on his own was both brave and stupid, but no more so than some of the stuff other characters pull off.) Some of Dumbledore's backstory survives, but not all, and Harry has barely time to react to it where the book has him work through the realisation that Dumbledore was flawed and not always wise and right, which is a preparation for the final revelation re: Dumbledore's plans. It's something that works better in book format by its very nature - access to thought process of the pov character - but since they split up the final novel into two movies anyway, they could have tried to work more of this in.

An ongoing theme of the novels as Harry & Co. get older is what tv tropes calls "adults are people", by which I don't just mean "flawed", but complex, with histories, mistakes, and in the case of the villains, also virtues. Snape can be a horrible teacher who never emotionally gets over teenagerdom and an incredibly brave man who lived a lonely, tragic life. Remus Lupin, by contrast, is a wonderful teacher and lovely, nice man, but he also never mastered what Neville Longbottom did already in his first year at Hogwarts, standing up to your friends if your conscience disagrees with them. Sirius, like Snape, never grows out of emotional teenagerdom (unlike Snape, he has the Azkaban excuse), and is an incredibly loyal, loving friend. Narcissa Malfoy is a racist and quite likely murderous racist who at no point shows regrets for any of the victims and a dedicated mother risking it all for her son, in the full knowledge of what Voldemort would do to her if he found out and survived. Dumbledore, see December entry.

And here's one (of several) reason why I really like our chief protagonist: Harry may react with confusion and anger to some of this, but also with kindness and compassion. When he returns to Hogwarts in DH and thinks of Tom Riddle, Snape and himself as "the three lost boys" who found their home there, he doesn't yet know the truth about Snape, and acknowledges the commonality nonetheless; when Snape dies, Harry still doesn't know (though he's about to find out) but is there. And in his last conversation with Dumbledore, when he does know both the good and the bad the man has done, there is this short exchange which I love in how it shows Harry's changed perspective and position - when he tells Dumbledore something he, Harry, knows via his mental link with Voldemort, i.e. that Gellert Grindlewald died defying Voldemort when Voldemort was on the lookout for the Elder Wand. (The movies got that one wrong, too.) The is no reason to tell Dumbledore this but one: Dumbledore has just talked about his own guilt re: falling for Grindlewald in the first place. It's Harry providing comfort without declaring it as such. Whereas at the start of the book, when he reads the first of Dumbledore's obituaries, he finds it impossible to imagine Dumbledore as a youngster his own age, with a family and friendships, he's now responding to someone he can see that way: to the old man with a lifetime of regrets and the young man who fell in love both.

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current mood: pensive

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Saturday, January 17th, 2015
3:19 pm - The Musketeers 2.03
In which there are subplots galore and really badly organized rescue missions, but on the other hand, the hostages do well.

Read more... )

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current mood: calm

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Friday, January 16th, 2015
3:23 pm - Elementary 3.10
In which the show has me very worried indeed about upcoming events.

Read more... )

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current mood: worried

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Wednesday, January 14th, 2015
9:45 am - Agent Carter 1.03
Continues to be fabulous, and what's this I hear about no episode next week because of some presidential address? Woe!

Tell me about your day )

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current mood: enthralled

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Tuesday, January 13th, 2015
7:01 pm - Penny Dreadful Trailer!
Yes!





Now about that final image... does that mean Madame Kali/Evelyn is really a historical personage who entered pop culture ). Alternatively, "when Lucifer fell, he didn't fall alone" could of course mean that the obvious )

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current mood: bouncy

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2:33 pm - Mini tv reviews, multifandom
Briefly, as Darth Real Life is pursuing me:

1.) Managed to finally catch up with The Good Wife. The show continues to be in high form. Good to see the writers address the spoilery motivation question for Alicia )

2.) Also managed to watch the first two episodes of season 2 of Broadchurch . Colour me impressed that Chibnall actually found away to explain why team Miller & Hardy are still in Broadchurch after the previous season's events. And Olivia Colman & David Tennant continue to make a great on screen duo. Also I'm pleased the new characters so far are four women and one man, as opposed to the reverse, not to mention the casting: Charlotte Rampling! Meera Sysal! Didn't know the lady playing the defense attorney before, but so far she's good. And hello again, Eve Myles, I HAVE MISSED YOU on my tv screen. If we're doing "one step from Doctor Who", then so far it's DT as D.I. Hardy, of course, Reverend Rory Paul, Chibnall as writer and now Eve Myles as Claire. In further news of "it's a small British actors world", the one new male is played by James D'Arcy, who also currently plays Edwin Jarvis in Agent Carter.

3.) And last month I watched the first two seasons of Rev., a British sit com consisting of half an hour episodes. It's still a small British acting world because Olivia Colman is in that one, too, as the lead's long suffering wife Alex. Said lead, the Reverend Adam Smallbone, is played by Tom Hollander, whom I last saw as the villainous Cutler in Pirates of the Carribean. Now all I know about the Church of England I learned from fiction - Susan Howatch's Starbridge novels and Anthony Trollope's Barchester novels - but I still felt amused and touched by this series, which manages to build up a good ensemble around its premise of a vicar with an inner city London church and all the problems you'd expect. It manages to make its lead flawed but sincere (with compassion and kindness) while also using satire and tackling actual social problems. Adam's Archdeacon, whom at one point he dubs "the dark lord", is a master of the constant sardonic put down and could be straight out of both Howatch and Trollope. (Or, if you're a Blake's 7 fan: think Avon working for the Church of England, but with the same Chris Boucher written dialogue.) He's not a caricature, either, and has excellent spoilery taste in something ). Other guest stars include Amanda Hale as a curate, Ralph Fiennes as the Bishop of London and Hugh Bonneville having a blast as an oily tv personality vicar, Adam's arch nemesis, but it's really the ongoing ensemble that makes the show: Adam and Alex (who is a solicitor), Nigel, Adam's grumpy No.2, who thinks he could do the job much better, Adoha the parishioner with a kink for men of the cloth, Colin the homeless guy whom Adam regularly shares a smoke with and Ellie the headmistress.

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current mood: busy

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Monday, January 12th, 2015
7:44 pm - ...and wild to hold, though I seem tame...
This is the most extensive article on the upcoming tv adaption of Hilary Mantel's Cromwell novels I've read, and the first one which mentions a significant change between source material and tv version. To wit: Straughan the scriptwriter and Kominsky the director ship Thomas Cromwell/Anne Boleyn, which Hilary Mantel did not. To quote from the article:

Nevertheless, in condensing a thousand pages into a six-part drama, Straughan had to give weight to certain strands over others. He chose a revenge plot as the spine of it – Cromwell avenging the death of Wolsey – and complicated that by making the relationship between Cromwell and Anne central. Where the books – which will become a trilogy with the eventual publication of Mantel’s third volume, The Mirror and the Light – trace the relationship between Cromwell and Henry, Straughan’s adaptation has a slant of suppressed sex and power.

This shift is so marked that when I ask Kosminsky if he wishes he had waited until all three books had been written, he barely hesitates before saying no. By way of illustration, he shows me an early cut of a pivotal scene in episode three (the episode that ends with Anne’s coronation). Anne and Cromwell observe Henry from a window in Whitehall as Thomas More hands over the chain of office. Cromwell is watching her. He looks at her chest rise and fall as she breathes. He imagines kissing her neck. The moment is brief but the electricity and complicity in it are extraordinary. ‘Although Henry hangs over the whole thing as the superpower,’ Kosminsky explains, ‘for me, the drama is about the evolution of the relationship between Cromwell and Anne Boleyn, which ends with her death.’


You know, reading this, I'm on board with the change. (Though it cracks me up when everyone in this article mentions The Tudors as an example of a "bad" historical tv series - not that I disagree, but The Tudors may be the first version to introduce some UST between Anne and Cromwell as they go from allies to enemies, and guys, give inspirational credit where due. You didn't get this idea from Hilary.) Anyway, the reason why I'm on board with it is that it makes Cromwell a bit more fallible and less chess master supreme if he has an unspoken attraction to Anne even while condemming her. (And I certainly prefer it to getting constant snide asides to how Anne is losing her looks in the second novel.) The actress playing Anne Boleyn also in the article is quoted with a spirited defense of her:


When Claire Foy read Wolf Hall and Bring Up the Bodies, she loved the books. Yet she soon found that her position as a reader was no use to her as an actress. ‘I understood it from Thomas Cromwell’s point of view,’ she explains. ‘So if they’d asked me to play Thomas Cromwell I’d have said, “Yes!” But because you only ever see Anne observed by him, you only have his impressions of her – that she was pinched and mean, gnarled and nasty. But she’s not like that, it’s just how she seems to him. So I had to do the research for myself.’

Eventually, Foy says, she felt angry on Anne’s behalf. ‘She could have been remembered as one of the greatest women in history. Where she came from to become Queen of England was extraordinary. She was clever, she was bright, she was vivacious, she was witty, she was political. But she was also slightly manic, irrational, emotional. And those characteristics were perfect for a political figure at the time. As a woman I felt she was blighted by her reproductive system.


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current mood: devious

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10:49 am - About that ending
Because the fannish mind sometimes does quirky things and makes you ponder something years later: back when Being Human finished, I had problems with the ending which the additional scene on the dvds largely resolved. To spare you the trouble of looking up the original review, my spoilery problem and why the additional scene mostly fixed it )

Now, ever since watching the scene, I assumed it meant spoilery stuff ). Having rewatched the last episode for the first time since it was originally broadcast, I changed my mind as to the timing and some other stuff. Spoilery musings ensue )

Which is why I'm now revising my theory about the implications of the additional scene. New headcanon: is spoilery as well. )

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current mood: contemplative

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Sunday, January 11th, 2015
4:28 pm - The Musketeers 2.02
In which at the start I wondered whether, considering part of the production team is the same, we'd get a Musketeers twist on the Merlin episode The Once and Future Queen (also 2.02.), and as it turns out...

Someone to blame )

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current mood: calm

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10:43 am - Elementary 3.09
In which Alfredo is back, and so are Sherlock's wake-up habits.

Read more... )

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current mood: contemplative

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Saturday, January 10th, 2015
12:52 pm - Multifandom links
Breaking Bad:

Article about R.J. Mitte, the young actor who played Walter Junior/Flynn in Breaking Bad. The other day I've come across a wisecrack again that Junior/Flynn gets no characterisation in the show beyond liking breakfast, and that's rubbish. He's not a main character, but he's a part of what made Breaking Bad great - here's a very good discussion of what the show does with him - and acting wise, I can think of no higher compliment than by the time we get to Ozymandias in season 5, R.J. Mitte is able to hold my attention for his character and his character's reactions in what is arguably the show's finest hour when all the main characters and their actors bring on their A-Game.

Buffy and The Hunger Game:

Katniss, Buffy and the cost of heroism

and the earlier:

Mockingjay and Season 6:

Both have spoilers for the entire Hunger Games book trilogy, so if you're a movies only fan and don't want to be spoiled for the second half of Mockingjay, beware. Otherwise, good posts pointing out the thematic similarities. I don't agree with all the points re: the movie adaptions, but these posts are very thought inspiring.

Doctor Who:

And lastly, a fun viewing: Dancing to the Doctor Who theme at the Cardiff airport in 1979!

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