delga: ([spooks] know it's me for I cannot sleep)

My nails make it bloody hard to type on this phone.


Somehow my Spooks post has actually become a series of comments to the comm. May repost for posterity. But the thing I haven't said yet - mostly because, [ profile] daygloparker, you deconstruct Ruth and her motivations so well that I get reluctant to character talk the way I used to with Ros; I don't want to reiterate your points in a haphazard fashion at 50% eloquence - is that there is only one Ruth. We've had any number of 123s (aka Tom/Zoe/Colin) but no other Ruth. Spygran did not at all operate in the same way. I mean, you can look at Connie in respect of Ruth, but you can't do the reverse; she's really more of a corollary to Tessa's breed of spook, which is a bridge Ros crosses but returns from. But Ruth is singular. The character arc work there is so subtle. She convinced herself - in exile - that she wasn't a spy. That's how you survive exile, of course: by making a people elsewhere. Ruth's namesake could tell you that. But the antidote to exile is a return home and Ruth, our Ruth, is home now.


Probably I would have an easier time with this fandom if my interest lay in Ruth/Harry, but it only does insomuch as it services Ruth's characterisation. Harry's characterisation is something I'm interested in following, but am not sympathetic to. Problematic. Ruth as apologist never sits right with me; it's not out of character, just disappointing at times. (I will always have a preference for that edge of anger; I don't think Harry deserves a lot of the reprieve he has been getting of late. His own downward spiral will probably implode at the same time spoiler )


delga: ([ncis] against the grain.)

Okay! So. As last time, I wrote more for Yuletide than I did the whole year previous, but this time it was all in one fic. This year I wrote Another Foolish Gesture (NCIS: Los Angeles) for [ profile] jenab who was gracious enough to read what I'd written and not be (publicly) confused as hell. Title from Richard Jackson's Antigone Today which -- UGH READ IT. So excellent. All the way through writing this, I couldn't get it out of my head.

Now: my author's notes, which are about as long as the fic itself, and in which I justify why I wrote what I wrote in the way that I wrote it.


notes: canon, timelines, head!Nate, and trying to establish/resolve ust. )


I would also like to thank lunasky and chase_acow who wrote the two fics I received this year. You both did an amazing job with my godawful, horrible prompts, and I was so delighted to get these stories. I read them on my phone on Christmas day as we were driving towards family. A perfect start to what was eventually a lovely day. Thank you!

delga: ([spooks] ros myers.)

reactions to finale reactions + why I don't need to be patronised, Kudos, are you listening? )

Apologies for the typos, guys, I can't go back and fix them whilst typing on my phone because it's quite fiddly. I'll come back and edit, and maybe post the first version of this which featured more swearing, less tact, and more...idk. I think my points were clearer. So. I will fix this later. In the meantime, I'm probably going to swing between cranky and ecstatic with fan reaction to the finale.


edit: Typos fixed, I hope. Below the cut is my original post. Same topic; more capslock.

+more )

delga: ([ncis] little quirk she has.)

Oh gosh, I can't think straight. A couple of initial (thinky, verbose) reactions, though.

NCIS, 6x25, Aliyah. )


Picspam soon, no doubt. Once I've watched it a couple more times.


delga: ([c. minds] minimal loss.)

Oh my.

So, Emily Prentiss. M's long love of Prentiss, now actually documented. )


Criminal Minds, 4x17, Demonology. )

pas de deux: Emily&Rossi. )

pas de trois: Emily, Hotch, Rossi. Point; counterpoint. )

Emily: ballerina versus corps de ballet. )

Emily Prentiss: soloist. )


I have been thinking about Prentiss a lot this season, more than I usually do, and this post is long because this episode gave a way of cohering the various pieces of information we had about her, and thus gave me a way to talk about her characterisation in a way that was previously more difficult. I talk about Ziva David like this so often because her story is linear and coherent, whilst Emily's is non-linear and fragmented. Until now. I hope there's more to say; I hope there is always more to say.

But yes. This post is long. It's really long. And I wrote it more for me than any one else because I don't think any one else really cares that much. But hey, it's worth it. We were a long time coming to this point.

delga: ([Random] J'approve!)

I don't remember the order in which I watched these, so I'm going by air date. Likely y'all don't care but it matters to meeee.

Also, I watched a lot of them with The Sister this week which I think changes the way I see things. Mostly because she finds a lot of things funny, and it makes me more sympathetic to the kinds of joke that I would usually stomp all over.


re: Numb3rs. I didn't even finish last week's episode (5x03, Blowback), even though the first act looked good. I just. I think I'll wait for it to air on TV some time next year. Maybe time will make me more sympathetic to it? I don't know. It's a bad sign when you can't even watch the scenes with characters you don't actively dislike. And whilst Nikki Betancourt is fierce, I just don't care about her if she's been set up to be the fall guy, instead of a foil to Don & co. which is what she was originally described as being.

Farewell, show. Farewell, Don's Awful Hair.


True Blood, 1x07, Burning House of Love )

The Unit, 4x04, The Conduit )

Mad Men, 2x12, The Mountain King )

Californication, 2x04, The Raw and the Cooked )

Sarah Connor Chronicles, 2x06, The Tower is Tall, But the Fall is Short )

My Own Worst Enemy, 1x02, Hummingbird )

NCIS, 6x05, Nine Lives )

Pushing Daisies, 2x04, Frescorts )

Criminal Minds, 4x04, Paradise )

CSI: NY, 5x04, Sex, Lies and Silicone )

Private Practice, 2x03, Nothing to Talk About )

Grey's Anatomy, 5x05, There's No 'I' In Team )

Supernatural, 4x06, Yellow Fever )

Life, 2x06, Did You Feel That? (In which I talk in circles) )

I still haven't seen this week's Merlin (worked during the repeat on Sunday, and now I'm waiting for The Mother). Speaking of, it took The Mother a year to get into Northern Lights. A YEAR. Then, last week, she picked it up, finished it, finished The Subtle Knife and started The Amber Spyglass which she's quickly making a dent in. I am a little bit eye-roll-y about the whole thing, but also a little bit triumphant. I KNEW she'd like that damn series.

delga: ([ncis] brace for contact.)

I've spent the last couple of hours ironing and watching season 1 NCIS (was getting fuzzy with the Ari timeline and it was making fanfiction difficult). A couple of things. Firstly, that whole idea that Kate spoilers for Bête Noire )

I've also been trying to iron out Ari's timeline in an attempt to work out Ziva's. Ziva's should be straight forward, except that she's linked into Ari's story, and also Jenny's, the latter being fucked up by all the back-story they randomly conjure up for Jethro. Ari's is actually the easiest to work out, and is complicated solely by his vendetta against Gibbs (which springs up seemingly out of nowhere).

things I've surmised about Ari Haswari from canon. )


Hmm. I still don't have an Ari icon, what?

delga: ([numb3rs] the girl worries.)

edit (27July08). Denz pointed out to me that that I should probably put a note up here about [ profile] metafandom. In short: no, thanks.


Fuck me, I didn't want to get into this, especially not tonight, but after this post I feel like I should stick to my guns and say what I mean.

So I read a fic, and I made a comment that basically said that I felt that choosing to kill a female character off in lieu of actual plot was poor form, and I'm still being vague because at the end of the day (a) the implications of the fic were unintentional and (b) I do have a lot of respect for the author, their talents and their love for the fandom.

But. But I'm calling people out. If there is an avenue open for feedback, then, yes, fanfic writers, I am going to use it. No, I'm not innocent of this bullshit myself - I know that; I've copped to that; I hold myself as accountable as the next person.

Feel free to leave comments here, or to email me about what you think about fandom's attitudes to women: delgaserasca @gmail .com. And if you know which fic I'm talking about, all the better. If you disagree with me, all the better. I'm open to hearing about what you think. I would rather have an intelligent conversation with you about why you think it's okay than just sit here and not say anything. Because I hate this. I hate that what pushed me out of a fandom that I adored was an inability for that fandom to respect all of its members. And just because it's unconscious doesn't mean that it's okay! To me the biggest issues we face in terms of sexism, racism and homophobia today are the ones that are silent - the ones that people don't notice, the ones that they're unconscious of, and I honestly believe that it's better to start talking about this stuff - that it's better to step on a few toes and say something - than it is to let it go on in quiet. No harm was meant by the fic that I read this evening, but harm was felt. It is not okay.

And by the by, as much as I enjoyed Dr Horrible (and I really, truly did), I felt the ending to that was bad form, too. Fuck me, I said it.


edit: [ profile] emmademarais has graciously opened her fic up for discussion. You can find the series, Seven Deadly Sins, here.

delga: ([numb3rs] and I find joy too.)

This started off as a note to self? I have no fucking idea.


Warning: this post is really quite self-indulgent about my writing; it is also rambly, and not very well articulated towards the end. Additionally, it is long (but I hope you'll persevere anyway) and it might provoke a strong reaction in you. On the other hand, you may not give a damn and carry on as usual. Who knows? It's been a long time since I've tackled this topic, and I don't think I've ever done it in this way. I think my point dissolves towards the end. You decide.


So, I decided that it was time to write some triumphant fic for the women of Numb3rs. I tried to do it before with Amita (so good they named it twice: i, not for lack of trying) but because of the nature of the fic, I don't know. I kind of co-opted her (supposed) dependency on Charlie and threw it onto Colby. Not the first time I've done that, either (see: asymptote and p.s. you left him). I like putting Amita in New York City. NY!Amita is ballsy in a different way, much less sympathetic. But NY!Amita is not Amita, she's an illusion. So I figured if I wanted to write Amita in a good light, I had to maintain her sympathy and not make her into something whiny, or malformed, or maligned (see: objects in space; no-one's going quietly). To be fair to myself, I've had some success in making the character more positive, though mostly through drabbles. I liked the way here comes the sun turned out because it was so much more about her joy than her resistance; some of the worst outings have been the drabbles (going for the easy plot) and especially a couple of the femslash ones (making the mistake of not equalising these strong, wonderful women). So. I don't know. I feel like for the most part, I've failed.

A few months ago I started writing mothertongue which was a sentimental look at Amita's life with her parents vs. her life with Charlie. issues with Amita and canon; some reasonable fanon assumptions about the character. )

Amita and Charlie. )

How Amita is presented in fandom & how that stems from canon. Also, some facts we have to come to terms with re: the establishment of canon before we get overly defensive over the characterisations. )

With that in mind: I still call bullshit. )

Which is not to say that I'm not part of the problem. )

the fandom's treatment of Amita. )

To conclude, yo. I can make allowances for the way fandoms exist and organise themselves, but that doesn't mean that I don't feel sore when I read this stuff. )


I really hope that someone read that all the way through, heh. And if anyone knows the fic that I was talking about, I'd like some help in locating it. fic summary. )

Any takers?

delga: ([ncis] all smiles.)

NCIS, 5x18-19, Judgement Day. )


Obviously this is not all of what needs saying. But I'm a bit tired, lols, and also I am forgetting details. Which is okay. Because it's time to go and rewatch season 5. Season of secrets, season of resolutions. Or not.

delga: ([ncis] brace for contact.)

A lot of this is going to link back to 'pivotal' episodes through all four seasons (Ari arc; Ziva's episodes; La Grenouille). A lot is also going to key into I am not a blind man which was my femgen entry about a year ago. I've been thinking about Ziva a lot since I went back and watched all of season 3 and the way that all leads up to Recoil (and eventually to Judgement Day) is some fairly impressive arc-work. Unfortunately, I think a lot of it is unintentional but hey, that's what negative space is all about. Fill in the gaps, everyone, that's what fandom does.

Judgement Day is going to get a post all of its own because the parallels there are too huge for this one.

here we go. Spoilers, natch. )


Oh god, oh god. What comes next? (You know, I really need to write that Ziva and Jenny backstory already because the show doesn't do that relationship justice.) (Also: my emotional investment is really pretty excessive.)

delga: ([ncis] brace for contact.)

OH GOD. So, I've watched up to Recoil (I'd keep going but T wants to watch X-Files). I HAVE SO MUCH TO SAY. And not just about Ziva, surprisingly. But let's get some of the Ziva stuff said anyway. spoilers. )

I can - and WILL - talk about the above until the cows come home but I have to go and be social now.

delga: ([Random] italia.)

More top 5s. Still open to requests. [ profile] razorxrosary asked me for my top 5 poems/pieces of verse and top 5 female characters.

top 5 poems/pieces of verse )


top 5 female characters )

Ironically, 3/5 of these choices have turned out to be blond characters. If there was a #6, I'd pick serial killer Suzie Costello or ass-kicking Kima Greggs, both of whom I love but don't talk about nearly enough.


I still have one of [ profile] razorxrosary's top 5s to answer, as well as a handful from other people. Slow going but I'm taking care with my answers, yo.

delga: ([sarah connor] look.)

As well as being quite SUSPENSEFUL, this week's episode delivered - in one scene - both Cameron HILARITY and something much more quiet and poignant. For the few of you tha know what I'm talking about, I'm referencing the scene where spoilers, natch. )

Anyway, the characterisations sometimes blow me away with how subtle they can be. And like I keep saying, re: Cameron more spoilers. ) So I think plot development might take a while. And they're nearly out of episodes, which also sucks.

edit: The Wikipdia episode summary is much more coherent, and explains the episode neatly, whilst including important details about the various relationships. Also, the fourth movie will be set around the actual Judgement Day (!) which is awesome because I'm really taking to that cold post-apocalyptic environment.

edit2: more spoilers. )

And I haven't even begun to talk about Sarah Connor herself yet.

delga: ([sarah connor] listen.)

A great deal of this episode was DISTURBING (in a good way!)

Sarah Connor Chronicles, 1x06. )


delga: ([brick] broken.)

So, [ profile] kabutar mentioned it, and wikipedia confirmed (WIKI = GOSPEL) that the makers of PotC spoilers for the end of film three )

Originally I was not a great fan of this (I have IDEAS about what SHOULD happen, natch) but I have decided that ultimately it sort of works out because the end of PotC is like most epics: the dying of an era (thus The Flying Dutchman almost becomes redundant). That's what lends it its desperation (yes, I am well aware that I am talking about PIRATES). As Gore Verbinski said:
"I felt it important that the third film was the end of an era — like in a postmodern western where the railroad comes and the gunfighter is extinct. It seemed that we had an opportunity to take a look at a world where the legitimate has become corrupt and there is no place for honest thieves in that society, so you have darker issues and a little melancholy. The myths are dying. That seemed a great theme with which to complete the trilogy."
—Gore Verbinski (source)


As an addendum: I REFUSE to count the X-Men trilogy as an actual trilogy. Not because it's part of a franchise (so is PotC!) but because the three films are independent entities and the plot is not coherent between the three of them. OKAY. SO. I don't actually refuse. I just think it's a bad example. And anyway, it's really more a series than an actual trilogy, yes?

Question: do we count Star Wars as two trilogies, or as one series? (Star Wars is actually quite FAB in this way because all that history is repeating stuff? ACTUALLY REPEATING IN FRONT OF US. Smashing!)



delga: ([Random] turn in with the tides.)

When I saw At World's End at the cinema, I felt it wasn't as good as Dead Man's Chest. In fact, I was fairly unimpressed. I liked the ending, but all the mythology in the middle was mixed up. This time around I remembered what happened in part two, though, so the third film made a lot more sense. And not just that: I found that when you weren't waiting to work out the next part of the plot, you had a much better time with the subplot that was Will and Elizabeth's romance. And...well. I used to find it boring, to be honest, and to an extent it still is. But a lot happens to the two of them in the third film, and by the end of it, there's an aching sadness to the whole ordeal. Sure, if you stayed to see the scene after the credits, there's a note of optimism, but after that note, after 20 years have passed, and then 30, then what? How long does a person go on waiting? And that's the quiet of it all. Unless, of course, it truly becomes a family business, and the boy takes over his father's stead when the mother dies.

Hmm. I don't know. I liked it better this time around. I still love the end of the second film, but the disquiet at the end of the third is definitely what attracts me.


Trilogies are interesting narrative pieces, though, because they each have to ebb and flow, whilst being separate narrative components of a narrative whole. In the case of the Pirates trilogy, much like The Matrix, the first story is succinct, to the point, mostly because the other two parts weren't initially anticipated. Then of course, the second film is all exposition; it has to establish a mythology based on film one that is strong enough to deliver a climax in film three. This, I think, can be difficult, but second films tend to be better than the final installments, mostly because it's easy to line up the pins, but harder to bowl a strike. That is to say, to follow through on the premise is not always easy, and both PotC and The Matrix suffer from that a little, although I think both end in very satisfactory ways.

In fact, LotR: The Return of the King suffers the same, although it has the benefit of being anticipated as a third film (not the second sequel). The film's end is... wow, it's so fucking slow. But there's a quiet intensity to it. RotK is Samwise Gamgee's story, so in a way it has to end with his loneliness. Aragorn's story is the second film, I feel, where he steps up (even though the Return is his return, the second film is where he makes the decision to come back). Frodo's story is the first film, the Fellowship; there is a part of him in the third, but really, it's the bravery of taking the first step that is important. But the second film, the siege of Rohan - that's possibly one of the strongest climaxes of the trilogy. The venture into the heart of the mountain in the final installment is an inevitability, but the big battle happens half-through that story. The pacing is certainly odd in Return of the King, and I felt that the climax (Boromir) was strangely executed at the end of The Fellowship of the Ring. No, Two Towers is my favourite of those three films, but it is an exception. Film one is pure exposition; film three is about resolution on so many levels. The climax comes in film two, which is risky, very risky. There's a reason why PotC and The Matrix serve their climaxes in the third film: because after that, there's nowhere to go.

I am trying to think of other films that are truly, actually trilogies and not series. If there is another PotC movie, I don't think I'll be able to include it in the arc because the mythology won't really be the kind of thing that they can connect back to the nearly-epic story they've established and tied up here. Also: it would fucking RUIN the tone of the finale if they decide to mess with Will and Elizabeth some more, so I don't think they'll make a return. Her maybe, but I doubt it. It's not really their story anymore, is it? I sort of see each film being about each of the three characters - Will, then Jack, then Elizabeth. I love in the third film where they go to parlay, and the six characters are the trio and the three big bads. And they're all mixed, too. There's a lot of separation/reunion in these stories, a lot of distance and searching and waiting.

Ah: Underworld is supposed to be a trilogy, yes? THAT is a PERFECT example of the 1 + 2 film format. The mythology there gets amped up by miles. I secretly LOVE those films for (a) their levels of ridiculousness and (b) their tone. Selene is SO FUCKED UP, and the 'people' she knows, and the traditions she is repeating/defending/attacking, they're the kind of Gothic NIGHTMARE you really don't want to be in. SHE IS MESSED UP, YO. The third part will be CRAZY, I just know it (I mean, COME ON. The Rise of the Lycans? SERIOUSLY? Talk about taking all that mythology and just FLIPPING IT ON ITS HEAD. Although, naturally, again: where else can you go with it?). The mythology in itself is just so vast. I'm not talking intricate and historical like LotR; I mean PURE INSANITY. Masses and masses of 'all this will come again'. And that's definitely the theme of trilogies. The stories are always second runs. But Underworld is ALL about bloodlines, and family and repeated mistakes, and redemption. VAST. INSANE.

I have only seen Chronicles of Riddick; does that trilogy fit the pattern? I unfortunately found that film to be awful, despite Thandie. I... maybe I just wasn't getting the mythos? Which is what you get for entering in the last third. What about the Terminator films? Does that count, what with the TV spin-off and the fourth (yes?) film? I think it helps if the films are conceived as trilogies for the one-two format to apply? HMM. LET ME KNOW, PLEASE.


Tell me there's fic where cut for PotC3 spoilers )

I mean, waiting is difficult; waiting takes patience and these people haven't really displayed a lot of that. more spoilers ) I really wasn't all that interested before the finale, but it rings true with other stories of absence. Actually, I really like the parallels with Calypso and Davy Jones, mostly because there's nothing to say something similar won't happen again.


OH GOD. I'M SO BORING. And I can't sleep.


edit: UGH. I know that Kingdom of Heaven will likely be RUBBISH (sort of like King Arthur) but guys, these films... I am basically their demographic. If I can sort of enjoy Hercules and Xena and The Last Legion, I'm sure I will probably get a kick out of this dren, Bloom or not. (I doubt it can be any worse than Alexander which I will NEVER watch again.) (No, really, King Arthur should have been my thing but it was HORRIBLE. Blatant manipulation of audience expectations! Inappropriate clothing for snowy climes! Unlikeable primary characterisations! UGH.)

delga: ([raines] I see dead people.)

You know that part in the Raines pilot, when he's talking to Charlie, convinced the whole thing is over and the case has been solved? And then Charlie asks him something, and the victim comes sailing back into view, skirting about on roller blades? Or that moment in Independence Day when they first send off those explosives with the hope that they'll penetrate the shield of that terrifying ship, and everyone is triumphant until they've realised they've actually failed? Those are the moments in the middle of a story, those are moments that we just glaze over because that's just part of the plot, that's just one problem. The failed attempt. We gloss over those because we acknowledge that they're part and parcel of the narrative.

But what happens when you get to the end of the narrative, and the ghost doesn't disappear? It's such a disappointment for the protagonist. It makes me rethink the victim's reappearance in the Raines pilot, how much that must have effected him. Because the possibility that stares him in the face is: the ghost may never leave. And that's what I wrote at the end of Faces I Have Known, but I didn't really think about what I was doing. It just seemed sort of inevitable at the end of that fic. Here's Michael Raines, he's getting used to this whole process, he's surviving it and then, snap, something new, something else that he has to adjust to, something else to hide from Kohl and Lewis, something else to fight inside his own head. Charlie is one thing; he needs Charlie. But that girl at the end of the fic is something else. I feel a little guilty doing that. Which is to say: there are no simple fixes, and Dawson makes that clear enough in Watch Me Disappear.

delga: ([spooks] ros myers.)

meme: year in first lines. )


I'm just C&P-ing this from [ profile] spooky_doings because I have very little else to add. Spooks, 6x08. Spoilers. )


Give me women. Strong women. Human women. Hamlet is Hamlet, caught between two worlds, and never making up his mind. Hamlet dies because he can't make a decision. Hamlet dies out of horrible chance. Ophelia dies, too. But Ophelia makes a decision and runs with it. Adam Carter is Hamlet, and Adam Carter bores me witless with his inability to stay the course. Not like Ros.

Ultimately, does it matter if the end result is the same? Both Hamlet and Ophelia are dead. But Hamlet had a place in the world that was prescribed for him, Hamlet had choices, whilst Ophelia was cast aside, dependent on her father. The woman-figure was cast aside. And I think if Adam Carter is our 'hero', then Ros is our Ophelia, because the plot was against her from the start. I'm not saying she was dependent, not in any sense of the word, because it's a different world now; but look at the tradition of women in the Spooks-verse. Look at how you're one woman or the other. Ophelia went into the pool knowing where she was going, knowing why. In all likelihood she was terrified. Don't tell me she could have walked away: the plot was against her from the start.

There's a lot of water about.


delga: (Default)

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