evilhippo: hippo (23 [cautious])
( Mar. 19th, 2011 07:01 pm)
Somewhere, there is a shark. And after Bombshells (Hulu linkage), I'm not sure which side of that shark House is on. In as few non-spoilery words as possible: I have never seen regression look more like Glee. The entire episode is a collage of different genres, and while that is one of my favorite things to do, ever... it's a freaking weird way to cover something that is such a serious part of the show's mythos. And by the time we got to the musical number... Actually, the best explanation for the weird dissonance that produces is to have you watch it, but the only place it exists is on iTunes (here) and though it's free, if anyone else's computer hates HD video in iTunes as much as mine does that isn't going to do you much good. That number is just so weird that my immediate reaction was to put my hands over my face and watch it from between my fingers (which is how I always watch Glee, so maybe it has more to do with musical television in general, but...). But the thing I really couldn't shake? How much the whole visual style seemed to have been very thoroughly influenced by Panic! At the Disco or something. (Maybe it's the eye makeup, I just don't know.) Now that I've watched the video a couple of times outside the context of the episode, though, it's... still weird, but not nearly as much so. It stands up a little better as a kind of diversion than something in the middle of an episode (at a turning point, even). But now I want to tear into it as metaphor for what was really going on in that scene, because I know it's more than slightly awkward caduceus-themed steamgoth pastiche.

I also love that Hulu sometimes has the habit of posting little interviews with the writers of episodes, because I'm getting ready to level the literary scalpel again this episode (it's begging for it; 3/4 of it is in metaphor anyway), and I like to know exactly what I'm supposed to be looking for with "authorial intention." (I always find it kind of weird when writers speak with utter certainty about the nature of their characters. Then again, I don't have any characters of my own, so I have to take an uncertain stance toward what I write.) Between this and Bones, I think there is some meta coming up about TV Relationships and Audience Expectations vs Authorial Obligation to the Story.
evilhippo: hippo (125 [herp derp])
( Jan. 19th, 2011 10:41 pm)
Compare! Contrast! Two of my favorite things!

I should be cleaning my apartment but because of whatever vague neuroses actually dictate my day-to-day life, I've instead spent the evening watching The Cape and (the American version of) Being Human. (While you're all rolling your eyes, I would most definitely like to point out that I did stop watching Glee, so at least there's that.)

So, after devoting my evening to campy sci-fi and pseudo sci-fi shows, I am now consumed with the urge to snark about at least one of them figure out why one of them works and one doesn't!

Do any of you care about spoilers? I wouldn't, but... just in case. Spoiler: I come down in favor of the one with a British pedigree... )
evilhippo: hippo (70 [hmph])
( Jan. 5th, 2011 08:35 pm)
To the three heathens that made me watch Luther:

... )

As for the rest of you... you should probably watch Luther if you haven't already (I was a bit behind with this). Just saying. Everyone's life needs more British crime drama.

For those of you who are interested in nothing of the sort: I also made 16 pieces of spaghetti tonight that were each at least four feet long. It was awesome. But not at all in the same way Luther is.
Still struggling with the stupid spring season finale metaphor. As such, I remain Captain Grouch, at least during most of the morning and afternoon hours. Once I'm home I am generally holing up and watching too much TV. Which is probably the root of the metaphor that is currently illustrating the problem (but not the problem itself, which is likely to linger long past sweeps week).

House, you have betrayed me. Not that I'm unhappy, just unable to relate. We were doing a great job there for most of this season. In non-contemporaneous media, I'm enjoying playing Spot the Familiar British Actor in Horatio Hornblower (Hello, Eight! DI Hunt! Lee Adama! You are all younger! Well, except Eight, but he's a Time Lord, whatever.) Though I swear the friend who lent disc six to me did it on purpose, because every other episode has been all battles and explosions and we've watched them while cooking or generally hanging out, and he left me that particular one to watch by myself, because he either knew it'd make me sad, or because he knew that, left to my own devices, it'd make me sadder.

Um, I'm also knee-deep in my own random dissection of what, exactly, the writers for Bones are going for, and why I can sort of stand it now, even though my initial reaction was that it was terrible and Brennan was absolutely obnoxious, the science was crap, the plots were really wonky and the writing was careless. Current working theories: The writers have precariously balanced everyone just shy of the uncanny valley of character, so you're never sure whether they're going for parody or not (the same goes for science, and for people to unerringly hit the uncanny valley for science, I mean, someone must be trying right? You can't be just shy of the mark on everything, right?). This often results in at least one complete headdesk moment per episode. The weird thing, though, is going back and watching the season one episodes (which I hated the first time around), and realizing that Brennan was... actually, not quite as defined in her obnoxiousness as she is now. I haven't figured out why I found that more obnoxious, but it probably has to do with knowing a lot of people like that (and possibly being like that myself sometimes, especially when I get it in my head to over-analyze things). Knowing this, I have bumped Brennan into my category of Very Interesting Female Characters, because, as is so very rare in female characters, I've found that I'm actually allowed to dislike and be embarrassed by her. And I think this quirk of otherwise careless-seeming writing is what has actually gotten me to appreciate the show.

Yes, I am overthinking things. I'm being avoidant about other things, this is where my mind is holing up to protect itself from the oncoming storm (already in progress).
To Anyone Planning on Watching Torchwood: Children of Earth,

Don't, unless you want to be seriously depressed for the next forever.

This announcement brought to you commercial-free by: evilhippo.


(Let's not even get into the levels of boredom I reached this week that caused me to watch this thing, it is seriously the most depressing piece of television I have ever witnessed. Where Doctor Who is all "Human race triumphs despite its flaws!" this entire thing was "The human race has no redeeming qualities and even the stereotypical, universal Redeeming Qualities all lead to one thing: Death. Also children are very creepy and there is a giant alien menace in the sky that is very, very cranky and basically invincible and also possibly going through some kind of withdrawal-related oozing tantrums and the government is evil and hates everyone, especially Torchwood and children." All in all, I think perhaps Russel T. Davies is having some Issues and maybe someone should have some sort of consultation with him, to figure out why he hates everything. Or (and I don't recommend this option, because it frightens me personally, but it might help...) give him a hug or something. Also, I totally see why John Barrowman was unsecretly and unabashedly ticked about the whole thing. 'Punished' is right! My goodness, RTD, what did that show ever do to you?!)
So, on the whims of my terrible internet connection (no clue what's wrong with it tonight), I'm attempting to watch Life on Mars. Only not the proper one... the American remake. So far, the only good scene has been the scene he gets hit by the car in. That scene is one of my favourites in all of television, but since it was done almost exactly the same way as the British version, it was pretty hard to screw up. (The shot of the twin towers afterwards was a bit of a punch in the gut). I'll concede, maybe, that portraying life in the 70s in New York City kind of justifies remaking a show like this (since we're not going to get the 70s British references)... but given that everything else, including (it's been a while, but I'm pretty sure) large chunks of the script, is lifted from the original, it makes for a pretty weird combination. Also, perhaps this is just preference, and I've only watched about half an hour of the show... but Sam Tyler and DCI Hunt in this? Nowhere near to being the sort of interesting, sympatheic characters they are in the original. Also I have no faith in American television in comparison to British television (with the exception of the third season of Doctor Who. Even we could've done that better). Also, why Sam Tyler is still from "Hyde" is a mystery to me, because there is no Hyde in New York. And Annie is a freaking blonde. Come on. Brunettes look so much less tacky in 70s police uniforms procedural dramas.

However, the greatest loss in this remake is the loss of the Rastafarian bartender. And the "What part of my subconscious do you hail from?" line to him falls completely, completely flat. Sigh.

Now I'm off to un-spoil myself for the second season of the British version, which I have yet to watch. Oops.
.

Profile

evilhippo: hippo (Default)
evilhippo

Syndicate

RSS Atom

Most Popular Tags

Powered by Dreamwidth Studios

Style Credit

Expand Cut Tags

No cut tags