shadowkat: (Default)
1. Claudia Black on Film Set Safety - So, I started following Claudia Black on Twitter recently. Anyhow, she's been posting these amazing threads about how to handle life on a film set.

The link above is to the latest thread.

"If you’re an aspiring actor, and as my advice was good enough for a young Mcavoy I pray you’ll listen now.

When we were filming Pitch Black a producer came to give me a choice. They had a problem and needed to do a reshoot with me and a stuntie. The shoot thus far had been rough he crew was exhausted. 6 day weeks are unsustainable. Mistakes happen when crews are tired and often on the 6th day. The crew couldn’t say “no” to another Saturday but I could. I asked when they needed a decision & went to speak with some crew. I made sure that they themselves were choosing —rest vs an overtime paycheck— I would not presume to know their needs and priorities. They chose safety and rest. “Safety First,” is after all, an oft heard refrain on any decent set with its priorities in check. I returned to the producer and told him I was too tired and didn’t want to work the Saturday. He looked at me for a few seconds. I was a good actor and a bad liar. He went to say something, nodded instead and rescheduled. We do a lot of things on sets that would otherwise be illegal. It can be thrilling. It’s a privilege."

This was in response to the tragic shooting of a film photographer on a film set by Alec Baldwin. The shooting is being investigated, but so far appears to have been accidental and unintentional. AP NEWS COVERAGE of ON-Set misfiring of a gun that killed director of photography on the set of Rust

BTW there is a lot on this on Twitter - enough to demonstrate to me at least that Baldwin and his fellow producers cut some corners, and did not follow safety protocols on set, nor did they take measures to ensure their film crew was safe and well rested. There's one thread where a crew member is complaining about how crew members couldn't find a place to sleep that was close by, and that the producers refused to find one or pay for rooms, outside of a motel that was doubling as a homeless shelter. (This thread horrified Claudia Black.) Another thread made it clear that the Assistant Director wasn't attending safety meetings and pooh-poohing them as a waste of time. And wasn't taking the fire arm safety seriously. And another thread makes it clear how odd this was, and out of the norm - meaning normally strict safety protocols are followed and there's no way this would have happened if those safety protocols had been followed.

I'm in an industry where we have to take a four-hour safety training course each year in order to be near or on the tracks. And I'm inundated with safety protocols. We have Safety Meetings once a month. So I can well imagine what a film set that utilizes stunts and fire arms would require or should. Also recently the union representing television, theater, and film crews went on strike in part due to the lack of appropriate safety measures on film and television sets.

Days before the actor fatally shot Halyna Hutchins, a cinematographer on the set of “Rust,” a gun used in the production inadvertently went off at least two times, ex-crew members said. The incidents prompted a complaint to a supervisor about the safety practices on the set, which was outside Santa Fe. The crew members were among several workers who quit just hours before the fatal shooting over complaints about working conditions and unpaid work.

According to an affidavit, Baldwin was told that the gun was safe before he fired it, and an assistant director “did not know live rounds were in the prop-gun” when he gave it to him.


According to Twitter feeds, the assistant director didn't know because he didn't attend the safety course. The Fire Arm specialist, put the guns on the prop table. The AD picked up one and handed it to the actor, who then fired it, killing Hutchins and wounding the director.

Per the Times:

here's what they know and don't know about the fatal shooting - and it kind of syncs with the twitter feeds )

[Right now various folks in the entertainment industry are petitioning that firearms be banned from film and television sets in the future, and they rely on special effects. I can't blame them. And why not? Also, it does make me wonder about the violence in our films and television series - and how easy it is for stuff to go wrong.}

2. There's two intriguing new comic series coming from BOOM! - involving the Angel and Buffy verses.

* Angel Goes Hollywood with New Comic
New Angel Comics - Angel is in a television series by day and fights monsters by night )

Shame they can't reboot that as a television series. Honestly that's the one version of the old vampire as detective they haven't done. I'd watch it. They don't have to make it Angel. Or they could and recast with a hotter actor?

* Buffy The Last Slayer - has a 50 something Buffy fighting vampires in a dystopian future, with Spike, and a sword wielding gray-haired Xander.
50 year old Buffy the Vampire Slayer )

I wish they'd do that as a television series too - on Netflix. They could hire Claudia Black to play a 50 something Buffy, with Marsters as Spike, and recast Ben Browder as Xander.

BOOM! Studios - snatched the rights to Buffy, Angel, and Firefly from Dark Horse and IDW. And have rebooted the stories in new directions. I stopped with the reboots. But the above two takes look intriguing. And I may go back and sample some of the reboots.

[Note - Whedon may have been an asshole to work with, but I still like what he created with various other writers and actors. It's a universe I still enjoy. Also Stephen DeKnight, Marti Noxon and Jane Espenson along with Tim Minear - were all good writers. As were the actors involved, and crew.]

3. RIP Semi-Famous Folks who died of Cancer this week )

4. I wasn't going to talk about COVID, but alas...got email from my union. (I'm in an international union.) Anyhow - it is supporting the mandate for vaccines at least.
union's stance and we've lost 48 members to the virus )

From the Times Briefing )

[I don't tend to supply links to the articles, because most of them are under paywalls.]
shadowkat: (Default)
The difficulty with these memes is I suck at counting. I forget what I'm on. I look at it - and my mind forgets the number.

There's a reason I stopped knitting. (Well that and I can't sew to save my life.)

This is Day #19 of 30 Days of Television Meme

The prompt is...A television series (may be a mini-series) that never gets old and you often re-watch



[IT's Farscape, in case you can't see it for some absurd reason.]
shadowkat: (River  Song - Smiling)
Sometimes I wonder if it is safer to ship in private? To love a specific romantic relationship between two decidedly fictional characters without a soul knowing. Used to be that way up until...roughly 2001/2002. And I wonder sometimes if that makes more sense. Over time, I've found that it is easier somehow to defend explain why I love the fictional characters that I do without too much sturm and drang, but discussing fictional relationships specifically "romantic" ones is another matter entirely. One thing is clear, it's best if you do not care what others think or can shrug off their opinions - something I've found is a lot easier said than done.

And people do have such strong opinions on fictional character's romantic relationships (short-hand? Ships) particularly regarding thos romantic relationships that make them see "red" or that they despise, although often they usually aren't that straightforward regarding it. It's usually a barrage of moral out-rage or turpitude that anyone could possibly think XYZ and ABC could be happy together.
Read more... )

Why do I like the fictional romantic relationships that I do? I'm not sure I know or that it is necessarily important that I do. Some things are unknowable after all or should be. I know that my tastes change like the wind.

But I do know... that there is a pattern in the "fictional" relationships that appeal to me...and the is the gender power-play. Two people struggling to come to a common place. Equals. In power. In view. The push-pull. The banter. But mostly? It's the feeling of two people who are equally matched. They've met their match, their equal. No not soul mate. Not that. More someone who gets you, who understands your values, not your interests, but what means the most to you, what you would die for, what is the most important thing to you. Who knows your weaknesses, your triggers, and what
makes you tick...yet is your shadow self, the other side. The complement. The yang to your ying. I look for those relationships in fiction. The other bits whatever they might be are just gravy, sometimes lumpy and unappetizing, and sometimes perfect and rich.

Favorite Romantic Ships include.

*Buffy and Spike aka the all too controversial Spuffy )

*Starbuck and Lee Adama )

*Aeryn Sun and John Crichton )

*Doctor Who and Doctor Song )

* Mr. Darcy and Miss Elizabeth Bennet )

*Lymond and Phillipa in the Chronicles of Lymond, last three books of the series. )

Romantic relationships...are in the eye of the beholder I think. For me...they are brilliant dances either in words or bodies across the screen or page. Carey Grant forever bickering with Rosalind Russell and Kate Hepburn, or John Wayne fighting with Maureen O'Hara...or the frenetic dancing of Bernado and Anita in their playful song America. Filled with color and contrast, not simple, not clear, and always surprising. The conflicts more internal than externalized, no Romeo and Juliets...more Helena's and Demetrios or better yet? The lovely lead in Twelth Night who dresses as a boy and romances her erstwhile Lord, while wooing his lady-love. Or Benedict to his Beatrice.
The words matter. The ability to converse. To speak. To banter. To talk forever and a day. I can't imagine a relationship lasting longer than a few moments without the ability to talk and converse. To meld minds. As Spock might say. The physical after all is fleeting, we all grow old, our bodies all wither, vampires we aren't, gods nor zombies neither...just frail bits of flesh and bone..and if we can't speak, banter, converse, meet on the mental level and the level of the heart...where are we?

For me...it's always about the words. The dance of quips. Spike and Buffy who start their relationship exchanging quips and insults. Dancing with words, then dancing with bodies. Aeryn and John who argue philosophy. Eliza Doolittle says don't speak, show me, yet...if she didn't love words, she'd love Freddy not Henry Higgins, ass that he is. Even Starbuck and Lee with all their physicality, are about their words...their hearts on their sleeves as they scream them to the universe.
shadowkat: (Ayra)
1. Watching this insane video series on MTV called Ridiculous which so far has managed to make me very happy I've never tried the pogo bouncing stick. And saw a turtle having an sexual orgasm. Stopped when they decided to show a video of some guy beating up some other guy and shouting at him and his girlfriend or they were all shouting and beating on each other - which was giving me headache. Off now.

boring personal stuff )

2.At the laundry mat, I read an article in EW about Sarah Michell Gellar-Prinze's new show Ringer. She was on the cover of it. Bits about the SMG interview and the difference between tv and movies... )

Regarding Ringer? about Ringer, with very very vague spoilers )

3.Been thinking redemptive stories, in part because there have been a few posts on it on live journal, and often posts by others, regardless of whether I comment, will percolate for a bit in my own head until I post myself on it.

Where I attempt to explain what I like about redemptive arcs and where they work and where they really don't work. OR what makes a good redemptive character arc. Hint - it's not the actual redemption. Lots of spoilers - Being Human, The Wire (although very very vague for The Wire, Dexter & Being Human), Doctor Who, Farscape, Angel, and Buffy  )

Okay enough rambling...off to watch either Fringe or Mao's Last Dancer, before tonight's Doctor Who, which is most likely another horror episode - sans Doctor Song. My difficulty with Who, is that I don't tend to like the stand-a-lone episodes that much, with a few exceptions.
shadowkat: (Aeryn Sun- Tired)
Today, on a random tv show which I'm not telling you the name of so don't ask, a character delivered this amazingly apropos monologue:

"My grandmother had a saying, Comparison is the killer of joy. And if you think about it- she was right. The minute you put yourself or what you have up against someone else, you'll feel inadequate or your ego gets so blown out of proportion - especially when you compare yourself to other people's relationships because there's always going to be another couple out there who is better off or worse off than you are and it's a false impression because no on really knows what works and doesn't work in that relationship except for the people who are in it."

(In the tv show the character's girlfriend was comparing their relationship to her parents epic romance and trying to live up to it, and he was telling her that it was impossible. Let that romance be theirs, this is ours. But I liked the quote because it is that rare speech that works beautifully out of context...and is universal. And well, it was what I need to hear. The problem with life is I'm reading or listening to other people's stories...and it hard not to compare them to my own. When by doing so, I'm doing both of us an egregious injustice. )

musing/ramble on romantic love in tv shows vs. actuality...and spoilers on Vampire Diaries - especially most recent episode. This is a serious essay not snarky, and not so much critical as it is me musing on why this particular endless love trope bothers me on tv shows and in books/films now. References both BTVS and Vampire Diaries as well as Grey's Anatomy. )

[**Regarding the above - because I can already hear some of you arguing with me about what I just wrote. So... please keep in mind that I'm well aware this is my opinion, I'm hardly an authority on this topic, and that mileage varies greatly. Also be mindful of my blood-pressure if you choose to disagree. Sort of tired of fighting. Do that all week, because work in an adversarial environment. So, am unlikely to fight online. Pooped or tired as it were.]
shadowkat: (Symbol from caprica)
Didn't much like the last post so deleted it. Have been wrestling with what to write in this thing lately. Find that I have lj writer's block. Or just overly self-conscious all of a sudden. (shrugs). So what do I do, I write the below and I keep it unlocked.

Thought about writing a post on Aeryn/Crichton relationship - which has got to be the best romantic relationship I've seen on tv. Sure it has its problems (tv after all) but, all in all, it works. And breaks/subverts a lot of tv rules in the process. The unwritten rule that the leads can't get together until the end of the series or sleep together. They not only sleep together in the first season, they comment on it, and it furthers their relationship. where I decide to do a summary post on the Aeryn/Crichton relationship against my better judgement )

Thought also about doing the Feminist Guide to TV, but this idea is chock-full of potential fail. First, not everyone defines feminism in the same way. Second, people don't particularly like other people telling them what tv shows are politically correct to watch. (I'll watch the bloody Bachelor if I want to, thank you very much (I don't, personally for a lot of reasons I will not bore you with.))

At any rate, I will list the tv shows that I am watching at the moment or have recently watched or loved that I consider Feminist. If a show you happen to love is not on this list and you know I watch it - it does not necessarily mean I don't think it is Feminist, I may have just forgotten its existence or haven't watched it recently so feel ill-qualified to state so. I may look like a walking television encyclopedia, but I'm really not - honest.

Before I do the list of Feminist TV Shows, will state that my definition of Feminism is equal rights for both genders, where women and men are treated equally. Both are villians and heroes. The TV show doesn't necessarily have to pass the Bechdel Test to be Feminist, if it does pass the test - I'll indicate it. Bechdel Test is basically when female characters talk to other female characters about things other than men, and there is more than one female character in the cast.

Feminist TV Shows - that I can think of and have recently watched within last two years.

*Rizzoli & Isles (passes Bechdel Test)
* The Closer
* In Plain Sight (passes Bechdel Test)
* The Good Wife (passes Bechdel Test)
* True Blood (passes Bechdel Test)
* Damages (passes Bechdel Test)
* Farscape (passes Bechdel Test)
* Buffy the Vampire Slayer (passes Bechdel Test)
* Vampire Diaries (passes Bechdel Test)
* Gossip Girl (passes Bechdel Test)
* Mad Men
* Dexter
* Brothers & Sisters (passes Bechdel Test)
* Grey's Anatomy (passes Bechdel Test)
* Doctor Who
* Covert Affairs (passes Bechdel Test)
* Leverage (passes the Bechdel Test)

Okay that's all I can think of. If you can come up with more - go ahead.

[ETC - got some weird responses to this question, so am clarifying my intent: on lj yesterday saw several posts about whether it was important to reveal your previous gender and sexual orientation to someone prior to boinking them. And if not doing so, ie - having sex with someone but not telling them you are "transgender" or "bisexual" - is a betrayal of trust akin to rape. This got me to thinking - what if any questions do people need to know the answers to prior to "boinking"? ] So, trying again: a hypothetical question, because I'm curious - before having sex with someone you just met, who is really hot, and you are completely turned on by, and it is so completely mutual - (ie. if you met your sexual ideal at a bar who considered you his/her sexual ideal as well) what if any questions would you absolutely have to know the answer to before you hop into bed with him or her? And what would be a deal breaker? What would make you turn them down? Would you care if they were transgender or bisexual? Does this matter? Or perhaps more importantly - do you care if they lie about it? For some of us - sex hinges on trust - so we care more about the lie or having the truth withheld than the actual response. But this poses yet another question - does your partner need to know the answer to those questions?

(I should answer this myself, I know. So, hypothetically?

[As an aside - I'm tempted to see Bernadette Peters in A Little Night Music or at least buy the album, yeah I know Catherine Zeta Jones won the emmy, but she does not have Peters voice and ability to interpret the lines. My favorite - Peters song was Children Will Listen from Into the Woods.]
my off the cuff answer to the above hypothetical situation )

As an another aside? If you ever get the chance to see the Broadway Musical Next to Normal - go! It is brilliant. And it doesn't matter who stars in it. The score and story is that good. It did not win The Pulitizer for no reason. Sort of like watching Who's Afraid of Virigina Woolf put to music with bi-polar and child loss issues combined. I laughed and sobbed during this musical. Best one I've seen in quite some time.
shadowkat: (chesire cat)
In reading or attempting to read Farscape fanfic, I've come to the conclusion that if the characters actions seem out of character to me, I can't read the story. This is not by the way isolated to fanfic, it is true of just about any story. I'm fairly tolerant of crazy plots, but here's the thing - the plot must come from the characters. It must be something that the characters would choose to do and in effect explores them further. If the characters are mere puppets to the plot, as if the writer is basically playing with them as one might play with paper dolls or sock puppets or those little toy action figures - putting them all sorts of bizarre positions - I find myself leaving the story and arguing with the writer.

Yeah, sure I can do the what-if scenario, but even those need to be organic to the character.
Case in point - the IDW Angel comics - in which from a purely objective point of view, the editor, a Marjay Harjay (I know I mispelled the gal's name and am too lazy to google it and yes, google should do a better job of protecting their trademark because once you become a verb, you start to lose originality, just saying. Sorry, tangent.). MH spells out a pretty interesting plot in her recent interview on the Angel comics. Spike, a vampire who worked to get his soul and accomplished good deeds, even fell in love, without a soul, has managed without realizing it to lose his soul. The other characters didn't realize it either. And now, once they find out, that has all sorts of odd consequences. This story is interesting from a purely objective pov - in that it examines in depth what it means to have a conscience or "soul" or moral compass. How different people react with or without it. And what motivates us to do good deeds. So thematically it is interesting. It could also be interesting from a character perspective. And I've read "fanfic" and other tales, outside of Angel, that explored a similar idea. I think the ATPO Board wrote a lengthy S6 fanfic that explored what would happen if someone removed or tried to remove Spike's soul. (Unfortunately, for reasons I'll never understand, they chose to write it in teleplay format and I find teleplays head-ache inducing to read, so gave up early on.) At any rate - this story fails because I don't buy any of the characters voices or reactions, they sound and act like puppets whose strings are being pulled by people who don't quite get them. So while the plot itself is intriguing, particularly in how it effects Angel, the main character, the manner in which it is written is unreadable for me. Because - I find myself arguing with the writer, and can't lose myself in the story.
a ramble about what takes me out of a story - featuring examples from tv shows, books, fanfic, specifically the Buffy and IDW Angel comics, and Farscape fanfic )
shadowkat: (Default)
Watched the season finale of Doctor Who this morning, was impressed. One of the better season finales. It is viewed mainly through the pov's of Ameilia Pond and her lover, Rory.
As another person wrote, I forget who, this version of the Doctor - is written mainly through the perspective of his companions. While the previous two versions, 9 and 10, were written mainly through the Doctor's eyes. Changes the series a bit, makes it a little less chauvinistic or sexist in character, and a little less preachy. I'm finding that I prefer Moffat to RTD as a writer at least in regards to Doctor Who. RTD did a better job with Torchwood in my opinion.
very vague spoilers for The Big Bang - the Doctor Who finale. )
In other news, finished A Dark Matter by Peter Straub, which was disappointing. I think I'm going to dump my Peter Straub's at work - we have a little bookshelf in the kitchen for books that people can take home and read. People bring in used books. Usually mysteries and thrillers. Straub is not as good a writer as Stephen King, which is saying something. And no where near the ability of Donna Tartt. He's easy to read, requires little effort, and the fact that he has published nineteen novels, won several awards in his genre, sort of explains why no one takes genre seriously. That said - his biggest accomplishment and most noteworthy one is most likely his wife's - which is, the creation of the READ TO ME program - advancing literacy amongst children and adults. For that accomplishment, not his writing, I applaud his wife and his ability to support her for it. Also he does provide a good airplane read. Airplane books are books that you don't have to pay attention to and can finish in one sitting.

While I no longer review or really mention fanfic (for reasons I won't go into to preserve my sanity and yours), will state that a 28 page Buffy/Spike fanfic about Spike hunting a soul, was actually more engaging and dealt with the complex themes of good and evil far more effectively than Straub did in A Dark Matter. This depresses me for a lot of reasons. 1) The writer who wrote this story is fantastic but getting a book published is so painful that she'd rather write fanfic than attempt it. (She's write, I've finished a novel and hate the publishing process and am dragging my feet - it's like having a root canal.) 2)Straub is so successful that he can write poorly and no one cares. There were mistakes in this novel that people online would bitch and moan about it if it occurred in a fanfic they were betaing. 3) Popular taste is well, not my cup of tea. So, I've decided that I will only buy best-selling novels on my kindle for dirt cheap prices. Or not at all. They don't deserve actual book status. Actual book ownership status is being reserved to books I want to own and writers who earn it.

Current book? The Lobster Chronicles by Linda Greenlaw - this is a memoir of Linda Greenlaw's experience as a lobster fisherman in Maine. She had left a seven year career as a swordfish fisherman and the Captain of a Swordfish ship, to fish for lobster. To do this - she moved in with her parents, in their 60s and 70s, and bought a boat. The book details her life as a lobster fisherman over a two-three period, the lives of the people around her, and what it is like to live on a small island in Maine, with only 47 people - most of whom you are related to. It was between this book and a chick-lit book that Momster tried to foist on me, entitled, The Way Life Should be - about a thirty-something New York event planner who meets a goregous sailor via an online dating site, gets fired from her job and decides to move to Maine and in with him. He turns out to be jerk and she has to find her way amongst the locals. Getting a job in a coffee shop and cooking, because of course she's a great cook trained by her Italian grandmother and the book is littered with recipes. It's well-written, but read one of these books, read them all. Plus the glamorization of small-town, island life and domesticity, gets old fast.

Realized something while away on vacat with family, that I come from a highly opinionated and critical family. But I think most folks are, to some degree or another. It's a plus and a minus.
Like all things.

Still trying to wean self off of Farscape addiction. The more I think about that show, the more brilliant it is. It is amongst the few shows that fully explores the effects of violence on the human soul. Crichton is driven nearly insane by it. Aeryn almost loses herself and her life. IT also discusses how the best of intentions can be turned against you whenever violence is involved. Farscape makes it clear that regardless of the justification - all violence has nasty and irreversible consequences. This is oddly being echoed by a rather violent and up to now, whitewashed soap I've been watching - GH, where the hitman is increasingly being depicted as an anti-hero, not a white knight, someone who puts vengeance and his own desires before everyone and everything else and justifies his use of violence as a means of protecting who he loves, forget about how it warps them and himself and everything around him in the process.

Hmmm, apparently, I'm editing the church newsletter this week. Should probably get to it.
shadowkat: (Default)
Got a bit accomplished today, including a hair cut. This is major deal - since I tend to get a hair cut once a year. The last time was in September 2009. It's really short, shaggy bob. Hard to describe, but looks good on me and I like it. Been procrastinating for about forever. I hate getting haircuts - because I rarely like them and it involves me sitting and staring at myself in a huge unflattering mirror for an hour. Gotten in the habit of just closing my eyes and letting them cut. This one turned out well - I think. Plus the cost has skyrocketed. I remember when a haircut was 10-20 dollars, 40 tops. Now? $70 plus tip. No wonder I put it off.

The problem with most, actually all tv shows, that have a romantic interest develop amongst lead characters - is the unwritten rule that it is boring to put the leads together and kills the sexual tension, so we must keep them apart or show them almost having sex. This results in all sorts of annoying ways of keeping the two leads apart. (Several of which I already mentioned in a prior post and won't bore you with repeating). While the Aeryn Sun/Crichton romance actually keeps the characters apart in a way that is innovative and organic to their characters during the majority of the first four seasons - ie, they come from literally two different worlds, and don't completely understand each other (star-crossed to the max), during the 4th season - they reach a point in which it does NOT make sense, feels incredibly contrived and you want to kick the writers in the butt for doing it. spoilers - because I can't explain it without them )

Sigh. Running out of Sat. There seems to be a cardinal rule in life - Saturdays are the shortest days of the week and Monday's are the longest.
shadowkat: (Default)
Re-Watched A Human Reaction and Terra Firma tonight, also watched Friday Night Lights - I'm about four-five episodes behind. Wonderful show, FNL. It's well written, well performed, and well produced. Close to flawless this season so far. And it oddly makes me happy, with its warm themes. Methinks, I've grown tired of bleak?

Read in EW that they are doing a motion version of the Buffy comics, premiering July 19th? Okay.
Wish the comics were deserving of that, or better. Might check it out - out of curiousity, but doubtful. Have come to the conclusion that tv shows and movies do not translate well into comic books. Odd, considering I tend to like film adaptations of comics or graphic novels. Hmmm.
I think the difference is - that when you take film and translate it to a flat format, you are doing the equivalent of chopping it in half. The adaption loses something in the translation.
OR, maybe I just don't like the collaborative team on the Buffy comics? This actually would make more sense - I'm admittedly not a fan of Jeff Loeb, Brad Meltzer, Georges Jeanty, and Scott Allie. (actually that is a polite understatement). If you think of entertainment collaborations as being similar to creating soups or sauces or stews, and how some spices work together and other spices when you put them together then swallow them, you sort of want to vomit or get cramps, it makes sense. This was certainly true of the Star Wars series and Star Trek. Star Wars prequels convinced me that it wasn't George Lucas that made the first three films entertaining but the whole collaborative team - including the actors. The prequels had a completely different team. Lucas the only hold-over. In other words, you can't predict that you'll love whatever Joss Whedon or James Marsters or Anthony Stewart Head or Ben Browder or Claudia Black or David Kemper create - because each time they create something they are working with different people. (You are bound to be disappointed.) Any more than you are always going to like Chili - depends on the recipe and whose making it.

Farscape has reminded me that I'm a sucker for a well-balanced, well-told love story. There are too few of them - and no, Twilight isn't a love story to me. I'm picky, I know. The John Crichton/Aeryn Sun story is a well-told love story with layers.

A Dark Matter by Peter Straub is weirdly written. The number errors in basic gramatical structure that I've picked up on are astonishing. For example: The writer keeps changing tense and pov in the middle of paragraphs and he does it inconsistently (as in every 50 pages or so). At first I thought it was just a typo, but its happened several times and there's no logic to it. Each time it happens I'm thrust out of the story, because I have to change the word in my head for it to make sense. Example - the majority of the story he tells in the first person singular, "I" this, and "we" that", then all of a sudden, without warning in the middle of a paragraph about fifty pages in, he switches to third person -"they" or "he" - just for one word. Then goes right back to the first person singular. Has done it about four-five times now. Instead of writing "we" - he writes "they" referring to the narrator and whomever he is with, then next paragraph and for the next several pages or more it's all first person singular. So - without warning, we, the reader, are flung out of the narrator or protagonist's perspective and in some omnipresent one, then flung back again. I did a double take each time it occurred. Re-read the paragraph and thought, uhm okay, what happened - did the editor go take a nap? Except it happens a lot. I'm not sure what he thinks he is accomplishing by doing it. Being clever? Not working. Okay, will take a step back and state - that it is possible to break grammatical rules, structural and otherwise while writing and get away with it - but it is hard to do well and most writers don't have the skill to pull it off. You have to prove you can follow the rules, before you break them and when you do break them - you have to show there's a reason for it. I'm not seeing a logical reason for the breakage here. It adds nothing to the story.






Tired from work. Going to be. Soon.
shadowkat: (Default)
It's hot outside, so don't want to walk and posting instead over lunch hour, which is nice and quiet - because most people have vamoosed to the area restaraunts - I tend to bring my own, due to dietary issues - although they do invite me to go with on Fridays.

Re-watched the Premier episode of Farscape last night - well tried to, got interrupted twice by Momster, first to discuss GH (which has taken an odd turn. It's a soap opera that up until this March was told from the perspective of a crimelord, his lover/ex-wife, hitman best friend, rogue/scoundrel buddy, and their significant others/extended. So cops and/or anyone that was antagonistic to these guys was shown as either inept or in a derogatory light. I call it my "anti-hero" romantic quilty pleasure. But then, the show brought back Jonathan Jackson as Lucky (anti-hero Luke's formerly inept cop son - who as portrayed by Jackson is anything but that, quite clever now and has a lead role) and introduced a Canadian actor - who is amazing as the mobster's unknown son, an under-cover cop. As a result the show now is told in the point of view of the cops or non-criminals or their perspective. Risky, if you think about it, considering the anti-heroes have insane fan followings. So spent twenty-thirty minutes analyzing the story. And...the folks, especially Dadster - are obsessed with Ballykissangle - a British television series currently appearing on PBS. (Not in NY, in Hilton Head). Dadster even googled it online and read the spoilers for all the up-coming episodes. (Which is hilarious). Sigh. It's apparently genetic. Second time was to inform me that she'd bought what I'd asked for from the outlet down there. (I'll see them in Maine next week.)

Anyhow, back to Farscape - in re-watching the Premiere - which is highly rewatchable and each time you see it, you pick up something new...I realized what they set up. It really does feel a bit like Dorothy landing in OZ, killing the Wicked Witches sister, and being relentlessly pursued because of it. Except of course she isn't, she's pursued for her magic or the ruby slippers. Here Crichton is pursued for his knowledge or wormholes. Both are their only way to get home. A home that increasingly becomes an illusion and less and less obtainable as they wander down their yellow brick roads. What's fascinating in both tales is that they go to someone else or search for the Wizard to get them home. But the knowledge is always within their grasp.

At any rate - the new bits I picked up on is the project Crichton's working on. It's the Farscape project - and what it is an extreemly dangerous experiment that he devised with his childhood best friend utilizing a spacecraft of his own design. Crichton's module - Crichton created. The experiment is to use the earth's gravitational pull to propell the space-craft like a sling shot into space. The experiment - we and Crichton learn later on in the episode, works - he uses the experiment to propell Moya, the living spaceship he's on away from her pursuers. Demonstrating to the crew what Crichton's skill is - or who he is, he's a scientist specializing in developing quicker and more fuel efficient means of inter-stellar travel.
On earth they announce if his experiment worked - it would have pushed the space program forwards about fifty years, but that is incredibly dangerous.

The other bit that comes up is heroes - Jack Crichton, John's father, is the old-school space hero. Portrayed by Kent McCord, the actor from old tv series, Adam-One. He's the Buck Rodgers, Flash Gordon of his day. Jack tells his son that what he's doing is amazing, he's using his brains, in his day only the suits got to do it - we were...And John interrupts, I know Dad, you were "guts" in a can. His Dad got to go to the moon and spacewalk. All John is doing is a test flight. He says he's done these things before, no big.
He seems almost depressed by it. Nonchalant. He's not the bulky fighter.
In old sci-fi - the male hero is brawn more than brains. Here the male hero is brains more than brawn. In the Flash and Buck Rodgers tales - the hero
fights, while the brainy heroine scientist or old guy scientist figures stuff out in the background. This story is the opposite. Here - the hero saves the day with his head not his fists.

Okay, everyone is back. Off to get chocolat. Assuming I can get there by elevator. It takes forever, apparently. Stupid building.
shadowkat: (Default)
Just finished watching the commentary for Kansas - in S4 Farscape. And I'm amazed, they actually duplicated the blocking for the beginning of this episode from an episode way back in S1 - Human Reaction. And at the end of Kansas - Crichton's last line is a direct reference to a line in A Human Reaction. This isn't the first time they do it either - Bad Timing does a copy of the blocking from Dog with Two Bones. The scene is one between Aeryn and Crichton. The first sequence is Crichton telling Aeryn he's going to go with Aeryn when she's about to leave in her proller. That's in Dog. In Bad Timing - it's Aeryn telling Crichton she's going with him in his module. The attention to small details, and continuity in this series astonishes me - because you do not do that in tv shows, particularly not in 1999-2002.
cut for spoilers on S4 Farscape and yes, still squeeing over the brilliance of this series. )
shadowkat: (Aeryn - Strength)
Still hot outside, with a touch of balmy. Seriously, sometimes I wonder if I'm living in Florida. Rained today, possibly will all day, but still hot.
Looking forward to the family trip to Maine.

Yes, still obsessing over Farscape. It plays with your head for a bit after you watch it. The Wizard of OZ motif alone could provide enough fodder for a book full of essays. But there's more - the pop culture references actually have a purpose. John Crichton is in an alien world. Completely different from his own. Upside down and sideways. cut for spoilers up to and including Peacekeeper Wars )
shadowkat: (Aeryn Sun- Tired)
The premise of Farscape - when it first aired, way back in 1999, turned me off - because once again it was a tv show about someone who got trapped somewhere and was spending the entire series trying to get home. I could see the whole story - we'd have him almost get there, then not. Basically The Wizard of OZ motif - where Dorothy spends her entire time in OZ hunting a way home. It's hardly a new motif - Quantum Leap - was about Sam finding his way back, The Fugitive - about getting the one-armed man, Incredible Hulk - about finding a cure. Basically the hero is searching for the proverbial carrot that he can't have and along the way helps a bunch of folk. In the first season of Farscape - or rather the first six-seven episodes - the story is about a bunch of lost souls stuck together and hunting a way home. It culminates with episode 16, A Human Reaction - where the hero or protagonist actually gets home or so we are lead to believe.

Episode 16, A Human Reaction is when the series literally changes its focus. It's the episode - that I tell people to keep going until they get to it. If you don't like Episodes 16-22, you may not like Farscape. The story stops being about Dorothy getting home, or the niave view that you actually can get home by just clicking your shoes together, after having a bunch of funky adventures, and being chased by the Wicked Witch. And John Crichton is a bit like Dorothy - in the Premiere episode, he is an astronaut, innocent of violence, skilled in science, wearing a white helmet, white astronaut gear, and no weapons, doing a test drive. When the spatial equivalent of a twister shoots him up and into a strange universe with strange alien creatures who are in the midst of a prison break. His module accidently collides with a proller (plane) that is pursuing the prisoners - and the pilot is instantly killed. Crichton's module is then sucked into the ship, which it turns out is a living ship with alien creatures (none that are the same species) all held prisoner on it and attempting to escape with it. The dead proller pilot's brother turns out to be a military commander or proverbial Wicked Witch - and becomes increasingly obsessed with seeking vengeance on the man he holds responsible for his brother's death - John Crichton. Sound familiar? Crichton's sole purpose from this point on is to find a way home and somehow survive until he gets there.

That is, until, A Human Reaction - which you don't quite appreciate until after you've seen the entire series. Farscape unlike most tv series is not episodic in nature, each episode is a chapter in it. Building to the next one. The first four-six episodes are perhaps the only ones that can more or less stand alone. The weaker ones certainly can. At any rate, a reference point on the whole OZ bit - Australia's nickname is the Land of OZ. This is where the show was filmed. (I happen to know this because my parents moved from Kansas to Australia after I graduated from college for about a year and a half. We joked about how they left for OZ and like Dorothy had to come back to dull Kansas again. Sigh. Truer words were never spoken. Having spent a month in OZ only to come back and go to school in Lawrence, KS - I felt much like Dorothy myself. )

major spoilers for A Human Reaction, Constellation of Doubt, Bad Timing (just the bits about wormholes and earth), Kansas and Terra Firma - some major plot spoilers )
shadowkat: (Aeryn - Strength)
I can't think of a subject title. About to pour - so am eating at desk again, and forgoing a walk through the mucky air. It's not the heat, it's the humidity, folks. The rain will be a nice release. The built up pressure in the air has been making me a bit crazy.

Finished watching the Farscape series last night - with the mini-series The Peacekeeper Wars - which aired approximately two years after the series was cancelled. The mini-series unlike the Firefly feature film, actually takes place immediately after the final episode of Farscape and works beautifully as a series end. It resolves all the themes, sub-plots, and character arcs.
While imperfect, it does a fairly satisfactory job of brining closure. It may well be the best series ender that I've seen done or at least the most satisfactory. And the ending for me, at least, was a happy one.
cut for length and vague spoilers )

I wrote this quickly during my lunch break. So typos, errors, abound. Not edited.
shadowkat: (Aeryn Sun- Tired)
Been sleeping poorly and feeling overly edgy and irritated. Have come to the conclusion that the high frequency mouse repellers plugged around my apartment were repelling me. So they've all been unplugged, except for one that I placed in the cabinet below my sink. Hopefully will sleep better tonight, feel better already.

Finished Farscape S4 and it is by far the best science fiction television series that I've ever seen. This season, while weaker in some respects to S3, still blew me away. What's depressing is it had two more seasons plotted and blocked out. While tv shows that were renewed and did continue at that time didn't. Makes me wish I was actually watching it back then and so was everyone else instead of wasting our time on tv shows that well, are sort of forgettable (too long a list). That said, can see why I wasn't. The show, because it is a novel for tv, works better on DVD than it did airing week by week. Novels for tv work better on DVD actually. I'm guessing sometime in the not to distant future - we'll be seeing more and more novels for television. Series released in this format, either via HBO (True Blood) or Showtime (Dexter) or on broadcast networks (LOST). What is innovative about Farscape is it is a sci-fi series written for women, to attract women, and for a female nitch audience. Normally sci-fi is targeted towards men, and fantasy towards women. It is also possibly the most feminist sci-fi series that made it to four seasons.

Went online to see what the talented writers, actors, and directors were doing now? Got depressed. Does anyone want to explain to me why Frances Bueller, Ben Browder, Claudia Black, Anthony Simco, Gigi Edgly, Raleigh Lee, Wayne Pygrim, Paul Goddard, Rowan Woods, David Kemper, and Rockne S O'Bannon aren't getting work? Don't bother. Walking into a bookstore or looking at Amazon's new releases or the one's on my Kindle depresses me. Current Popular taste unfortunately is cheese whiz and spam. Honestly, Ben Bowder is double the money, the man can write and act. Why he isn't getting more roles, I've no clue. Same can be said for Claudia Black. They did both get on Star Gate - which I did watch for a bit in 2004 and 2005, just because they were on it. But gave up. I honestly will never understand why people like that series.

Farscape got cancelled because it cost Sci-Fi too much. As much as I'd really love to blame Star-Gate, it really zip to do with it, outside of the fact that it was cheaper and more popular in the ratings. And NBC, Sci-Fi's parent company couldn't afford it. Sort of reminiscent to what NBC did with the original Trek years ago. And I can see why it had troubled attracting new fans - the series is a novel for tv, you can't just come into it at any time like well 95% of the tv shows on right now. Was talking to Momster about this - and she said you can come into Mad Men or The Wire at any time and figure it out - they really aren't novels for tv. You don't need to watch previous episodes to figure them out. (She's done it). You couldn't do that with Farscape. Farscape unlike most sci-fi - was a series about the emotions and the mind - it delved into those areas and in new ways. So it was based on the characters and how they grow and evolve and change. Most sci-fi is interested in things external to the characters, and external problems, and rarely deals with emotion or psychology.
Farscape also was dirty sci-fi - with spitting, showers, vomit, pissing, and the daily life of living on a ship in space. It wasn't clean. Fanfiction wasn't as required - because the focus was so much on character.

Am on to the mini-series now - The Peacekeeper Wars.
shadowkat: (Default)
Procrastinating, again.

I swear Farscape is an addictive tv series - it sucks you in and you just can't stop watching it. Also the dialogue is so good (and often hard to decipher because it's fast and spoken with heavy accents and with music and other sounds over it) that I'm constantly flipping back or rewinding.

Great line yesterday:

Crichton to his arch enemy Scorpius who he has tried to kill numerous times: What does it take to kill you? Kryptonite? Superbullet? Buffy?

Also, I'm liking the reintroduction of Aeryn into the show better than I remembered, possibly because I realize that we are almost entirely in Crichton's point of view. spoilers up to and including I Shrink Therefore I Am )

Great commentary on the John Quixote episode - which also bolsters my respect for Bowder - who wrote it. Claudia Black asks him how he found the time - because he is the lead and they work 30 hour days. He said on weekends and in the middle of the night. In this surreal episode, the actor references fairy tales, subverts them, as well as numerous science fiction references.
Max Headroom shows up at one point. As does a reference to the Tardis. He also breaks the Fourth Wall at least twice. It's a brilliantly written episode, and a collaborative piece. In the commentary - he makes it clear that as a tv writer you have no control. The script goes through numerous changes, the actors, etc play with it. And as a writer - it works best in tv if you work with everyone involved, ask for their input, what the actors would like to do,
what would challenge them. That the problem with long-running tv shows - is boredom. People start to get blaze, and stop challenging themselves...and phone it in. You need to keep the energy up and it helps if you allow for input and see what everyone is capable of, how they want to push the barriers. And you have to keep doing it. Oh, and this episode features one of the best directors of the series, Australian Director Rowan Woods, naked, painted blue, and looking like Zhan.
shadowkat: (Default)
While co-workers go out to the local pizza joint for lunch, chosen to post on lj and eat salad/yogurt at desk. I'd walk about the park - but it's muggy out.

Paper this morning was discussing the big Russia/US spy swap. When I first read about the Russian spy ring caught in NY - my initial thought was: huh.
I thought the cold war was over and we were all buds. Then I remembered the Olympics in China and the whole standoff between Bush and the Russian Leader whose name I've forgotten (I want to say Putskin? And yes, I know this is pathetic but brain is dead from work week) - over some country Russia was invading - I think Chechnova? (Of course, all that changed after Obama became president, right now the US and Russia are sort of friendly and US is helping Russia become a member of the World Economic Counsel or whatever that thing is called. So, what's Russia most worried about according to the paper? The capture of the spy ring derailing their current relationship with the US. Not, the spies.) At any rate - this has resulted in a lot of people being released from Russian prisons and sent to the US or resettled in exchange for the captured Russian Spies being sent back to Russia. Apparently the two countries do this all the time - but until now, we didn't know about it? Honestly it reminds me of that old child hood game - Red Rover, Red Rover - so and so come over. You basically swap players back and forth - and add an element of tag to it.

Watched Crichton Kicks - episode one of S4 Farscape last night, which like the previous seasons works as a bridge episode between the last season and the current one. The first episodes of each season are actually amongst my favorite of the series. To show how much one's tastes can change over a five year period - I remember hating this episode in 2004. Being frustrated with it. Last night I was obsessively rewinding it, and was highly annoyed that there wasn't any commentary for it. I adored it to pieces. It's such a brilliant little character piece. Reminds me a little of what Red Dwarf tried to do (the British sci-fi comedy series (think the Three Stooges in Space but with a Jungian twist) not the Doctor Who episode) but in some respects far more subtle. And told in a rather funky style, almost non-linear.

spoilers Crichton Kicks and the War of 1812 (the actual war not a tv episode) )

Back to work. But first chocolat!
shadowkat: (Aeryn Sun- Tired)
Sent off the electronic list-serve. Not as hot today as yesterday, but quite humid and there must be something in the air, everyone is edgy as all get out. And no one I've spoken too is sleeping well. CW and I keep trying to get our act together to go kayaking, but we keep procrastinating. And it's getting in the way of CW's soccer obsession. She'll win $1750 prize if Germany wins on Sat. I told her that at least her obsession is lucrative, mine not so much. I told it was Farscape. And she surprised me by stating: "Oh I love that show. That was amazing. Watched it was on that sci-fi channel. Good obsession."(CW is picky, she's old school Doctor Who, huge Big Bang Theory fan, loved Trek, and Star Wars (not the prequels, but did anyone?) enjoyed Lost, Xenia, Hercules, but found Buffy/Angel a bit juvenile and soap operaish (she's not a vampire fan, prefers zombies), Firefly a bit silly, and BSG was a bit too bleak.)

Watched Farscape S3 Dog with Two Bones last night and then the commentary with Ben Browder and Claudia Black - who by the way give the best commentaries on the planet. A rarity with actors. Another rarity with television actors in particular - is these two really knew their characters inside out and their take is the same as the writers' and directors. Part of the reason for all of this - is cultural. Australia unlike the US and *cough*Hollywood*cough* does not have a "star" system. Or hierarchy. The lead in a play or tv show - does not have much pull. Or at least that's what Browder and others state. While Sarah Michelle Gellar could get people fired on Buffy (and actually did), Ben Browder couldn't on Farscape. Also Farscape unlike the US tv shows -didn't have the same degree of cast turnover. It was more organic. As a result, Farscape was tighter plotted in the first three seasons (note have not seen S4 yet and my memory of it is too vague to comment), then the vast majority of US tv series. Plus it
had writers who were interested in creating four-part arc stories and a novel, and found ingenious ways around the network's desire for standalones.

A Dog with Two Bones is based on an old parable which a tortured and pained Crichton, whose friends and Aeryn (his family on Moya) are on the verge of leaving for separate climes,
tells to a alien witch. She states that she doesn't know the reference and he says: "A dog, an animal that is also a pet, is carrying around a bone in his mouth - he reaches a river and looks in to see another dog with a bone staring back at him. He reaches to grab that other bone and loses the one in his jaws, having nothing. I'm like that dog - I reached for wormholes - the way home and I've lost everything." And the old alien witch - who he calls Wrinkles, asks, can the dog learn? Can he change? It's not too late - choose which bone that you want.

Spoilers for A Dog With Two Bones - or the quintessential non-linear dream episode done well )
shadowkat: (Aeryn - Strength)
Finished church listserve editing, will wait until tomorrow to send - because some people wait until Thursday to send stuff that should be added. Work is crazy busy.

Ah, and Farscape. There's an unwritten rule in tv - that if you have a male and female lead, they are not permitted to be happy together or get together for any length of time - because we, the audience will get bored of a happy couple and wander off to better climes. To an extent this is true - conflict is more interesting. As a result, a lot of TV writers fall into all sorts of cliches attempting to find ways to keep their two leads apart. Some make sense, most feel contrived. My favorite is - "she or he is presumed dead! And really isn't, instead they lost their memory and are elsewhere". I sort of like that one. My least favorite is - the attempted rape or sexual violence - that's been overused by soap operas (all of the soap operas have done that one at least once.). Then there's the old - misunderstanding - ie. one or the other can't get up the courage to confess their true feelings, so the other one leaves thinking their affections aren't returned or they appear to die thinking it. (I've grown bored of that one and find it highly frustrating).

Farscape actually finds an innovative way to keep their leads apart. After bringing them together romantically. They do a really interesting twist on he's dead but not really, which I've never seen done before and works brilliantly. So much so, that by the end of S3, I really can't imagine how the two romantic leads could ever get back together again. And it is organic to the plot and theme.

spoilers for S3 Farscape up to Dog with Two Bones )

[ETA: Please note this post is only about the episodes leading up to S3 Farscape. I haven't watched S4 yet, and I don't remember any of it, really, except the very last scene. So please don't spoil me. Farscape unlike most sci-fi and tv series - is a novel for television. You cannot watch it out of order and figure out what is going on. It wouldn't make sense. There are a few, but very very few episodes - that you can watch on their own. I think maybe three or four - and they aren't the best. ]
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