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selenak: (Maureen im Ballon)
It's been a year since I marathoned the 2018 Lost in Space, which I loved. I just checked to see whether it was canceled or got a second season, and to my delight, the later is the case, though we won't get it until July, it seems. Which is as good a reason to rave some m ore about the new Lost in Space as any, and about why you should watch it, too, especially if you are on the look out for a new canon featuring not one or two, but an entire ensemble female main characters, estranged families findng each other again, cross species friendships, people being really competent at what they do, and last but certainly not least, an m/f long term relationship between partners that's not about getting together but how to live together.

So, what's the premise of the first season?: Robinson family plus supporting cast crashlands on dangerous planet, has to fix each other along with circumstances in order to survive. There are flashbacks and mysteries to be solved as well. Basically: Lost. In Space.

Do I need to know the original Lost in Space tv show, or the 1990s movie?

No, you don't.

When you say the main cast is mostly female, you mean...?

Maureen Robinson, genius physicist and engineer (my favourite!), Judy Robinson, her oldest daughter, a doctor, Penny, her second kid and the quippy middle child, and Dr. Smith (not her real name), con woman extraordinaire, main antagonist and very occasional ally. The male rmain characters are John Robinson (the only non-genius of the family, Maureen's estranged husband, a pilot) and their son Will (youngest kid). Of not defined gender, though Will calls them a he: the (alien) Robot.

Numbers don't mean the women actually get the meaty narrative stuff. Pop culture osmosis told me the original show was all about Will, the Robot and (male) Dr. Smith. Isn't this the case here?

No. Will and the Robot are an important part of the show, but Dr. Smith's main relationship with a Robinson turns out to be with Maureen. Who is the head of the family, and the one who pushes storylines forward - going into space was her idea, she figures out what's wrong with the planet (Maureen doing science is one of my favourite things about the show, and the icon displays one of the more visually spectacular examples, when she uses a balloon to go up in the air and check her theory about said planet), she figures out what really happened in the seemingly natural catastrophe that is making Earth increasingly inhabitable, and so forth.Judy and Penny are getting as much screen time and development as Will, get to save the day more often, and together they present different stages of growing up - Judy is a young adult who gets the "idealism clashes with reality" type of tales, Penny is a teenager and thus sometimes relates to Judy and sometimes to Will as a peer, and he rin-between-ness also means she's the one most likely to draw others out, and Will is a child with all the wonder, generosity but also unintentional self centeredness that can entail.

Let me guess. All these female characters are vey attractive and presented in various stages of undress a lot.

Yes to the former - it's still US tv -, no to the later. They all wear practical clothing appropriate to their situation (which is either crashed on a very dangerous planet or in space, meaning space suits and survival gear, respectively). This includes our villainess, who also at no point tries to seduce anyone by using her sexual wiles. (Her method of survival and advancement is more getting into people's heads and mess with same. )

I'm burned out by female characters first built up and then raped, or at least sexually menaced, or even getting killed. Does any of this happen here?

In a word: No. Again, this goes for all the female characters, heroines, villainess, minor supporting cast.

So far, so good, but I'm also primarily a shipper, not a gen person like you. What's the romantic potential?

In terms of "likely to be on screen or already on screen canon", Judy has some UST with smuggler-with-a-heart-of-gold Don West, and Penny has a brief teenage romance with a fellow survivor. But the main m/f ship of the show is John/Maureen, who start out estranged for reasons gradually revealed but re-connect emotionally in the course of the show. It's basically an "exes still carrying a torch get back together again" trope done right. Note: this does not happen in a Parent Trap way. The kids, who do their own reconnecting with John, leave their parents' relationship well enough alone.Also: John is played by Toby "Captain Flint" Stephens which was my original reason for tuning into the show last year.

In terms of "not likely to be screen canon but definitely great for fanfiction": Maureen and Dr. Smith have some serious foe yay going in the last few episodes of the season after Dr. Smith has been unmasked. Tropes canonically used are " enemies forced to work together" , "grudging respect", "outsmarting each other at different points" as well as "imprisoning each other and escaping another at different points".

I can't help but notice that the canon ships or likely ships are all het,while the subtext one is slash.

True. But Penny's first teenage fling (where btw she took the initiative, much like her Mom) is over, so who knows, she might acquire a girlfriendi in s2. Also: arguably the true heartrendering romance of the first season was the (asexual, don't worry) one between a boy and his robot (think E.T. with Elliot and E.T. for the type of story this was), so who knows what Will is going to be, orientation wise, once he grows up.

Okay. Is this a sci fi show where everyone in the future is a white American?

No. The Robinsons and Dr. Smith are, with the exception of Judy who is Maureen's kid from an earlier relationship (pleasingly, there is no difference John makes between his biological children and her) and placed by a black actress. But virtually the entire rest of the colonists who crashlandwith the Robinsons aren't. The ones we get to know best are a Japanese family (Maureen's scientific bff is the dad) and an Indian-or-Pakistani/British family (i.e. accent British, ethnicity of Southasian origin) (the leader of the community, Victor, and his son, Penny's temporary romance, belong to it), plus there's Angela, the survivor most traumatized by the original catastrophe at the start of the pilot, who is black and US American.

Now we've established there are no fridged (and/or raped) women: any other potential triggers I should know about?

Well, the first season puts our heroes through just about any surviving-in-dangerous-natural-situations suspense you can think of. The first three episodes, for example, milk the "crashed on a glacier with the ice engulfing them" scenario for what it's worth,and once they've left that behind, the joys of tremors, swamps and alien equivalents to dinosaurs await. I should add that the show doesn't forget adding moments of beauty and wonder among all the threatening environment, but what I'm trying to get at: if you, for example, are claustrophobic, what happens to Judy in the first two eps is probably going to resonate. Otoh, since someone asked in a comment to my original post on this show - there are no dead pets, don't worry. This includes the chicken.

You may love the estranged/dysfunctional familiies getting back together again trope, but I, for one, am fed up with jerks being forgiven just because they're related. Especially when the show doesn't sell me on these people not being better off far away from each other. What do you have to say to that?

That I empathize. There have been several instances in recent tv years where the balance between dysfunction and closeness/fondness for me hasn't worked, where I either didn't believe the people in question had ever been close in the first place, or that they should be, given how they were characterized. But with the Robinsons, I love that even at the start, at their most estranged, there's still mutual respect (very important to me when I want to root for reconciliation - do the characters respect or belittle each other?). And John, whose fault the original estrangement mostly is, really is shown working for winning Maureen and the kids back. He doesn't take it for granted he has a claim there. And he accepts Maureen's lead throughout the show. That this is a show whose main relationships are between family members who does entirely without that overused trope, the Mean Dad (tm), is another part of the attracton for me. (Not just in terms of John Robinson. Mr. Wattanabe, the Japanese scientist friends with Maureen, has two adult daughters he's getting along very well with. And community leader Victor might be somewhat harsh with our heroes at times - he and Judy have an pragmatism vs idealism/ good of many vs individual life fight at one point, for example - , but not with his son (Penny's fling). There isn't a Mean Dad (tm) around in s1.

Okay, I'll give it a shot. Where do I find this show? On Netflix, though given it's now a year old, there should be dvds as well.
selenak: (Clint and Natasha by Corelite)
In which Scott Lang saves the universe, with a little help from his friends.

Spoilers are kidding, though Scott does have a relatively big part in the movie )
selenak: (Spider-man by Peaked)
Ifinally got around to watching Spider-man: Into the Spiderverse, and lo, it turned out to be as great as advertised. All the Spiderpeople were characters in their own right, even the pig, and yet Miles, whose origin story this was, managed not to be overshadowed. The animation was wildly inventive, embracing its comicbook-ness, and used the medium it was instead of pretending to be something else. By which I mean: gags like Spider-Man Noir only showing up in black and white would not have worked, or not worked the same way, in a live action version.

only slightly spoilery ramblings )
Basically: deserved all the accolades it got, and was impossible to resist.

On a more serious and sadder note: as today is Shakespeare's death-day and traditional birthday, it's an eerie coincidence to me that I just learned John McEnery has died, who played Mercutio in the 1968 Romeo and Juliet. In honor of both him and Shakespeare, here's Mercutio's Queen Mab scene from said movie:

selenak: (Bamberg - Kathyh)
I wish you peaceful, joyful holidays, be they Easter or Pesach, and start my annual Easter Wells pic spam with the heroes of the hour....

Cut for Monanotlisa, covering two pics )


Eggs, wells and prozessions await beneath the cut )
selenak: Siblings (Michael and Spock)
And we have the second season finale in a row where I felt the build up was better than the execution, though for somewhat different reasons than I did re: the season 1 finale.

Spoilers liked the season as a whole, but this is the second ep which made me throw up my hands )

Notre Dame

Apr. 16th, 2019 07:52 am
selenak: (KircheAuvers - Lefaym)
The sight of Notre Dame burning was devastating all through the night. It also made me do what I often do when feeling desperate, fall back on other people's creations to express what I feel. There's John Ormond's poem "The Cathedral Builders":

They climbed on sketchy ladders towards God,
with winch and pulley hoisted hewn rock into heaven,
inhabited the sky with hammers,
defied gravity,
deified stone,
took up God's house to meet him,
and came down to their suppers
and small beer,
every night slept, lay with their smelly wives,
quarrelled and cuffed the children,
lied, spat, sang, were happy, or unhappy,
and every day took to the ladders again,
impeded the rights of way of another summer's swallows,
grew greyer, shakier,
became less inclined to fix a neighbour's roof of a fine evening,
saw naves sprout arches, clerestories soar,
cursed the loud fancy glaziers for their luck,
somehow escaped the plague,
got rheumatism,
decided it was time to give it up,
to leave the spire to others,
stood in the crowd, well back from the vestments at the consecration,
envied the fat bishop his warm boots,
cocked a squint eye aloft,
and said, 'I bloody did that.'

 photo NotreDame.jpg

 photo FrontNotreDame.jpg

 photo RosetteND.jpg

It's been years since I stood there, took those pictures, or climbed on the roof which you could do, but the certainty of Notre Dame in its beauty surviving through all was never something I ever questioned, and the cathedral in my own hometown burned twice (though many centuries ago). I knew, of course I knew, this could happen quite outside of war or any kind of malice. But not to this church, in the heart of France.

This morning I listened to Bruno Pelletier singing Les Age de Cathédrales (from the musical Notre Dame de Paris, aka the one most defnitely not based on any Disney version but on the actual novel), and now I can't get it out of my head again:

selenak: (Black Widow by Endlessdeep)
I'm feeling a bit cranky, and it's about a month or so until Avengers: Endgame, so, a few less than popular MCU opinions by yours truly:

Opinions spoilery for the MCU movies so far ensue )

In non-MCU news, I marathoned the first season of Derry Girls, which consists of solely six episodes and has been reccomended to me a couple of times. It's a Northern Irish sit com, set in ye early 1990s, in the titular city. Our heroines are a couple of school girls plus one boy (James, first boy on an All Girls Catholic school because due to his being English, it's feared for his safety on a boys school), there'sa lot of black humor, sharp dialogue, and it manages to be very funny without prettifying the setting (of border controls and bombs, you know, all the joyful stuff the Brexiteers want to return to). In the course of the season, one of the girls comes out as gay, without this being given the "very special episode" treatment. And the headmistress is one of the best nun characters this side of Call the Midwife I've seen on tv in recent years, falling neither into the saintly nor in the evil abusive category; instead, she's a deadpan, matter-of-fact joy and further endears herself to me by wearing a post Vatican II habit instead of the full habit costumes US tv inflicts on its nuns more often than not, no matter when a show takes place. I hear the second season has just started, and hope next year Netflix will put it up as well.
selenak: (Tardis - Hellopinkie)
Since we won't get any new Doctor Who this year (whyyyy?), I've been randomly rewatching parts of the Moffat era as well Thirteen's first season. This didn't cause me to come to any new conclusions (the Twelfth Doctor seasons are my favourite of Moffat's reign, Chibnall's first season is enjoyable without being spectacular), but it reminded me of a great many things I love about the show. (And also made me re-listen to some Big Finish stuff for good measure.)

Another old conclusion that got revived by rewatching: other than The Doctor's Wife (because Doctor/TARDIS OTP, of course) and big anniversary special The Day of the Doctor, my not so secret favourite episode of the Eleventh Doctor part of Moffat Who might be Amy's Choice, and I maintain it's one of the most underestimated ones, possibly because Simon Nye, who wrote it, was neither the show runner nor a famous guest writer like Neil Gaiman.

To re-capitulate: Amy's Choice has a deceptively simple premise: seemigly two realities with our heroes having to figure out which one is the true one. Since one of them has Amy and Rory living in their hometown years post Doctor, and Amy's pregnant, and the other has Amy and Rory plus the Doctor in the TARDIS where last we saw them, this at first seems very obvious. But wait! There are increasing hints that the "meanwhile, on the TARDIS" reality is not quite right, either. Also, there's an entity calling himself the Dreamlord around, viciously played by Toby Jones, goading our heroes in both realiities, with special venom reserved for the Doctor. (Who figures out who the Dreamlord must be quite early on, not least because "there's no one else who hates me that much".) (No, not the Master or Davros.)

The episode works for me on various levels; on a technical level - both realities are increasingly weirder, and the stakes feel ever more threatening, plus the only way out is a threat in itself - dying in one reality, which, if it is the "false" one, means you wake up in the real one, but if you choose wrongly, you're dead . But even more so on a content level, and as a character piece. This was the first episode where I felt I had a grip on who Amy was as a character, and to me, it's hands down one of the best investigations into the darker, murkier sides of the Doctor's personality and consciousness the show ever did. This despite the fact this isn't one of those episodes where we get presented with an "evil" Doctor a la the Valyard in Old Who or "Mr. Clever" in the New Who episode Nightmare in Silver, or an opponent designed to mirror the Doctor's darker impulses without the positive ones (with the orignal conception of the Master but the the most prominent but by no means the only one of such examples), or even the Doctor in a mixture of hubris and nervous breakdown (The Waters of Mars comes to mind). No, in Amy's Choice, the Doctor tries to save the day, as he always does (and eventually succeeds in that), and doesn't commit any ethical violatations while doing so, and no one but our three main characters is threatened, the stakes aren't a planet, let alone the universe.

And we're still treated to that ruthless look at his subconcious for the entire episode. That it's not the Doctor in extremis but the Doctor on a regular day is fundamental to its success as such a look, imo. And now I have to get spoilery. Hell aren't always other people. )

That this particular episode is such a favourite for me probably also explains why I didn't fall in love with the Moffat era until Capaldi's Doctor came along, because in general it's rather atypical for the Eleventh Doctor seasons. These were themselves a counterpoint to the previous melodrama-heavy end of the RTD years, and thus the Eleventh Doctor in general definitely counts as one of the "lighter" Doctors. (I don't mean that as a criticism; it really was necessary at the time.) But while I don't want grimdark Who, I do like a certain sharpness in my Doctor characterisation along with the whimsy, some capacity for disturbing mixed in with the capacity for kindness. And Capaldi's Doctor was ideal for in this regard. He wasn't one note about it and developed in his three seasons; the Twelfth Doctor as he was with Bill in his last season was a great deal kinder to most people he encountered than the Twelfth Doctor in his first season with Clara, when she as well as he were wondering whether or not he was a good man, for example. But both Twelve in his early episodes and in his last ones just before regenerating felt like a version of the Doctor capable of being both, the "idiot in the box" and the "oncoming storm". Which is what makes the character so interesting to me.
selenak: (Discovery)
Part I of the season finale. In which lonely martyrdom is not on, and I love it.

Read more... )
selenak: (Carl Denham by Grayrace)
I've been meaning to link this for a while: a brilliant and lengthy essay about one of Billy Wilder's lesser known movies, A Foreign Affair, which is brilliant. (Both the essay and the movie.) It's here. It calls the movie the most devastating and personal film of Billy Wilder’s extraordinary career in American cinema which, in a career that includes the likes of Sunset Boulevard, The Apartment, Double Indemnity and Ace in the Hole, says a lot. I'm not sure that I agree about "most devastating" in general, but if you combine it with "personal", then yes, the essay believably makes its case.

It also uses the background of its creation. So what do you do if you're a scriptwriter/director who as a young man had his first few sucesses in (and about) Berlin and loved the city then, with a passion, then had to emigrate to save your life because of the Nazis, then fell in love with the English language and America and made a career there, then came back as part of the Allied occupying forces (film crew branch) to supervise concentration camp footage edited into reeducation movies for the German population, then got confirmation from the Red Cross that most of your family who didn't make it out of Europe was murdered in Auschwitz, and then you get greenlighted a Berlin-based film, supposedly a comedy also about reeducation? If you're Billy Wilder, you ask fellow emigré Marlene Dietrich to play a card-carrying (ex, or is she?) Nazi cabaret singer, ask fellow emigré Friedrich Holländer to contribute songs for her and make A Foreign Affair.

The movie wasn't a success as far as Paramount was concerned. In the US, there were complaints that not only did it make fun of the US forces and didn't present them in a very flattering light (the male lead is a G.I. involved in the black market, and one of Wilder's typical male sell-outs, at first using his charm to distract Congresswoman Phoebe (played by Jean Arthur) from finding out he's the very thing she's supposed to be investigating while also carrying on an affair with Erika the cabaret singer), it also was mean to Jean Arthur by presenting her as as frumpy and uptight next to Marlene Dietrich.(As the article puts it: " On paper, Wilder’s film might have been viewed officially as offering a positive appraisal of the occupying forces – but that was before anyone saw it. (...) The Department of Defense issued a statement to the effect that the film gave a false account of the occupying forces’ activities abroad .") In Germany, it wasn't even released for a few more decades, having been deemed unsuitable to its ostensible purpose of moral education. (No kidding. No German gets morally reeducated in this picture.)

Sadly, YouTube doesn't have many usable clips from it. This one intercuts footage from the actual movie with footage showing the Berlin ruins in the immediate post war years from other sources:

This sequence, otoh, is entirely from the movie and probably Marlene Dietrich's best non-singing scene in it, focused on her character, Erika the morally ambiguous singer, and Phoebe the Congresswoman, who is undercover trying to pose as a German in order to investigate fraternizing G.I.s but gets caught up in a raid.

It's very much worth watching in its entirety. If you can't, read the article anyway. It's that good.
selenak: (Discovery)
In which Christopher Pike is told that if he goes to Z'ha'dum, he will die unpleasant things about his future (again), Michael and Spock continue to be a fabulous sibling double act, and L'Rell's description of the Klingon attitude towards time travel is the exact opposite of what Leland claimed it was. (My gold-pressed latinum is on L'Rell.) Also, Alexander Roshenko's record gets broken.

Read more... )
selenak: (Old School by Khalls_stuff)
It's been a while sice I last had the chance to delve into Big Finish audios, but in recent weeks I did. Not least because Big Finish picked up Class, aka my much beloved, much mourned Whovian spin-off that only got one season, and I've been meaning to listen to the results for months. They're not the only audios I've been listening to, but I shall review them first.

Class Volume 1, and Class, Volume 2:

Three stories in each volume, all set during the show's first and only season, not afterwards. As a whole, they're entertaining, at times clever, and there's at least one story I adored and would call an instant audio classic, but in general they didn't feel as good or original as the tv s how to me, which is partly due to two premise problems. Since they are set in the first season, this means they can't do what the tv show already did, develop a narrative arc and relationships further. (More about this, and one exception, in the detailed reviews.) The other premise problem is that while Big Finish got the entire Class cast back, they always use just two or at maximum three of them per story. On the one hand, this allows focus on just these two (or three) characters. On the other, not only does it demand, and rarely gets, an explanation as why these characters don't the others for help with the problem du jour, and also, it means the sense of an ensemble gets lost. Meaning: if a tv episode was centred around, say, April and Ram, this still meant Tanya, Charlie, Matteusz and Miss Quill would get some brief but often significant character stuff to do as well. This isn't the case in the audio format, which pairs up the two or three Class characters with the guest characters. and thus feels more like a loosely connected anthology series of individual stories set in the same universe than a series about a specific group of people.

Bearing these drawbacks in mind, here are my reactions to the individual stories:

Spoilers meet Queen Mab, lots of aliens, and Ace )

Since Volume 2 ends on such a high note, I really hope that Big Finish does more with Class, ups and downs in both volumes not withstanding, and moves on to tackling the aftermath of the s1 finale, and maybe rethink their "use only two or three regulars per story" policy.

On to stories from the Doctor Who main range:

The Peterloo Massacre by Paul Magrs: Content as advertised by the title: this is a straightforward historical with the (Fifth) Doctor the only alien in it. He, Nyssa and Tegan end up by TARDIS accident in the Manchester area, in the August of 1819, which means they inevitably get involved in the upcoming darkest hour of Manchester history, as the Doctor at one point calls it, when cavalry charged into a crowd of 60,000–80,000 who had gathered to demand the reform of parliamentary representation, killed 15 and critically injured 400 to 700 of them (the numbers are vague because afterrwards a lot who could hid their injuries, fearing to be punished further). It's one of those fixed points in time events the Doctor can't change, but, in a rare event for the Fifth Doctor, he gets spectacularly angry, and the way Peter Davison plays that barely restrained rage is beautiful. (Especially in the scene with the reporter who prepares the whitewashing of the local industrialists who form and finance the yeoman doing the massacring already.) It's one of those stories where human greed and callousness towards the underprivileged are the villains, which, btw, why I'm glad there is no sci fi element other than the Doctor and friends. Well done, leaves you enraged, which is as intended by the story.

The Defectors by Nicholas Briggs: both a standalone story and part of what I take it from the interviews at the end is a Big Finish event series, where later regenerations of the Doctor switch places with the first three (aka the ones whose actors are dead), for a mysterious reason to be explained at a later point. This allows later Doctors to interact with earlier Companions (provided the actors are still around), not decades (or centuries) later (except from their pov) but when their younger self actually was travelling with the people in question, and that's an interesting premise in itself. In this particular case, it's the Seventh Doctor finding himself in a Third Doctor adventure with Jo Grant, and as those eras are very different from each other, while I'm very fond of both, I pounced and aquired the audio. With one (and a half) caveats, I'd say the execution lives up to the promise.

Here it gets a bit more spoilery )

Death and the Queen by James Goss: basically, a Ruritanian adventure for the Tenth Doctor and Donna. This one's plot and premise doesn't bear much examining and thinking about (what do the villains get out of their evil scheme that they wouldn't have gotten in far simpler ways? did we have to do a story where Donna gets conned by a bridegroom, again? etc.), but the charm is in the execution, no pun intended, and the Tate 'n Tennant rapport is as strong and sparkling as ever. Also, extra bonus for, after milking the "conned into marrying a prince with dreadful relations and hidden motives" fantasy for what it's worth, the story ends concluding that the most sensible thing to do is to abolish the monarchy entirely and make a republic out of Ruritania the fictionial European kingdom Donna spends some months as Queen (sort of) as instead. (This might not have struck me as so were it not for the fact that the latest season of Doctor Who included the Space-Amazon-is-okay-the-union-people-are-bad epsiode.) We meet the future leader of the revolution in this story, too, and she's female. In conclusion, not a classic, but I enjoyed it and listening to one of my favourite Doctor/Companion combinations again a lot.
selenak: (Illyria by Kathyh)
Spoilers live from information )

In non-fictional terms, have another Brexit link, because someone channelling an anger this particular reader feels herself can be cathartic: This article is as good a summary of the current state of affairs as any.

Album Meme

Mar. 31st, 2019 10:43 am
selenak: (Malcolm and Vanessa)
"If your fic were an album, what would the track list be?"

From [personal profile] muccamukk:

1. The popular, catchy one: Teachers, about Anakin Skywalker and Ahsoka Tano, written after I had marathoned The Clone Wars. It's by far my most popular fanfiction, which was such a weird experience after being grateful to get into double digits with kudos at all in fandoms less popular than Star Wars. And with a story that's not about a romantic pairing (either het or slash)! I still can't believe it.

2. The obscure early one no one bought at the time: Facets, which was my second Alias (the tv show, not the comic) story and an Arvin Sloane character portrait, for a given value of "no one" - all four of us who were really into Sloane liked it. :)

3. The "experimental" one, written when you were possibly on some substance: Ten leagues beyond the wild world's end , which was the answer to a challenge; [personal profile] likeadeuce had dared me to connect Hank McCoy (X-Men comics edition) to Elizabeth Swann (Pirates of the Caribbean). This was the result, which plays a bit with two timelines as well.

4. The slushy one: Miracles, which is my unabashedly sentimental take on what a Babylon 5 Christmas Special, Centauri edition, would be like - set in late s3, after A rock cried out, no hiding place left poor Vir badly bruised in both the physical and emotional sense.

5. The brash, loud one, mid album: Five in One, a Buffy the Vampire Slayer tale about Spike from the pov of his (canonical) victims, which was the first time I consciously wrote (angry) meta via fanfiction. I mean, I otherwise avoided the Spike Wars at the time they were waged, and these days the point I was trying to make feels more than redundant, but at the time this was the result of reading one too many "Spike never diid anything wrong" posts and stories.

6. The one born of your depressive introspection: Last one before closing (Angel, Wesley in late s5 which should tell you all you need to know). This one come to be because [personal profile] bimo asked for a story featuring Wesley and Lorne. I suspect she wanted something uplifting. Instead...

7. The bitter one about your ex/former manager/cat: Second Coming, which isn't about any of the above, but it's definitely me being bitter about one of my few DS9 pet peeves, the s7 Sarah Sisko story and how it was (not) dealt with.

8. The one only you like, you insular weirdo: Fear no more (The May-December Remix): "only me" would be going too far, but it's probably the least popular of my stories in a reasonably big fandom (DS9), and still one of my favourites. It takes a bit of backstory for Dax from one of the (deservedly) least popular DS9 eps as its basis, and was my attempt to do something with an older man/young woman pairing that felt real to me.

9. The genre-hopping crossover hit: Tea and Sympathy, which is probably (in terms of kudos) my most successful crossover, imagining a friendship between Guinan from Star Trek: The Next Generatiion and the Doctor (from Doctor Who). Though the genre in this one is pretty straightforward (i.e. a crossover). If, otoh, I put the emphasis on "genre-hopping" instead of crossover, then probably The Lay of Sir William of Daira, which is a Merlin story that both qualifies as an entry into the "crack fic" (it's unabashedly silly), the "fleshing out one shot character", and the minor character pov genres. I was having great fun writing it, and I'm pleased it still gets read.

10. The one where you tried to be "modern": when yours truly had only a very few fanfic stories beneath her belt, starting ouit with missing scenes and daringly advancing to stories with a plot, Death and the Maiden (Hilghlander) was the first time I tried to write something non-linear, it was definitely the darkest thing I ever wrote until that point, and it was also me trying out different tenses in a story written in a language not my own. I suppose this qualifes as trying to be "modern" at the time?

11. The anthemic final track:Anthemic, hm? Well, Falling Towards Apotheosis, aka my attempt to write the ultimate Penny Dreadful story as well as the ending to satisfy my epic needs certainly qualifies in ambition.
selenak: Made by <lj user="shadadukal"> (James Bond)
Since today is not-at-all-Brexit day, I want to extend my sympathies (again) to any and all citizens of the United Kingdom. Also to the writers of the latest James Bond movie, a work in progress titled after a Karl May character. (No really, they're calling it Shatterhand.) I just don't see how any Bond villain, no matter whether or the traditional cat-stroking evil organisation heading variety, or of the mad rogue agent variety that came into fashion in the 90s, could possibly do worse to Britain than Britain, or more precicesly, England, or even more precisely, almost the entire British top political hierarchy plus all Leave voters did to itself.

Also, I'm having a hard time to imagine any incarnation of Bond (from Connery to Craig) who wouldn't conclude that the country would be best served by kidnapping anyone currently in the running as PM as well as the PM and dumping them in the next overcrowded refugee camp in Libya, awaiting the treatment there which refugees are given by this "safe" country. Oh, and adding Rupert Murdoch for good measure.

I mean, I imagined a lot from the moment the referendum was decided, but even my wildest imaginations didn't extend to this.
selenak: (Discovery)
In which there’s a time storm, which is somehow a phrase Doctor Who hasn’t used yet (I think), and we find out a few things.

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selenak: (Peggy and Jarvis by Asthenie_VD)
I don't think I'll take part in [community profile] ssrconfidential this year, the Agent Carter ficathon. It's a lovely ficathon, and I always enjoyed particpating; and I still love the characters. But I feel I've basically told all the stories I'm currently capable of in this fandom, with last year's offering being both my ultimate light side fun Peggy adventure in the form of the James Bond crossover, For their eyes only, and my ultimate darker Peggy character portrait via Five times Peggy Carter Compromised. I've taken on the Jarvisses via my Ana story, All of Me, and I've tackled Howard Stark from various angles, including Peggy's relationship with him. While I enjoy reading about the other SSR agents - Daniel, Jack, Rose -, and love Dottie Underwood, I can't see myself writing them. So - right now, I feel I'm done.
selenak: (Illyria by Kathyh)
In which a character from the novel shows up, and the show characterisation of the lead continues to baffle me.

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selenak: Siblings (Michael and Spock)
It occurs to me the mid season hiatus is near. In fact, this might be it? Anyway. I spent the last three days at the Leipzig Book Fair, and thus I had little to no time at all for the internet. But now I‘ve watched the episode, and here‘s what my book fair-frizzled brain made of it:

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