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Did they just use the soundtrack for GONE WITH THE WIND to rush Quentin Tarantino off stage after his script win for Django Unchained?
...they did. They truly did.
...they did. They truly did.
Feb. 25th, 2013
Rarewomen 2013 Letter
Feb. 25th, 2013 10:59 amDear Author,
thank you so much for taking the trouble to write about any of these intriguing women. I appreciate it, and am good with any form you choose, gen, het, slash, any combination thereof. While I usually prefer canon settings, don't feel restrained by that: if the muse compells you to write, say, an Alias space AU, or The Wire In Ancient Egpt, go for it.
(Except for coffee shop and high school AUS. I'd rather not have those.)
( The Wire )
( Alias )
( Marvel (Comics) )
( 15th Century RPF )
( Spartacus )
Like most readers, I imagine, I'm not fond of character bashing, and I despise shipping-related feuds. This doesn't mean you can't explore flaws or let any of the women - who are canonically very opinionated, not to mention that some of them are responsible for their share of deaths - express themselves in a hostile fashion. I think you know the difference between, say, Hisako reminding Brand of what Brand did to Pjotr Rasputin or Hisako venting your opinion that Brand/Beast should never have become canon. With that in mind, THANK YOU ONCE MORE for writing a story.
Your most appreciative recipient
thank you so much for taking the trouble to write about any of these intriguing women. I appreciate it, and am good with any form you choose, gen, het, slash, any combination thereof. While I usually prefer canon settings, don't feel restrained by that: if the muse compells you to write, say, an Alias space AU, or The Wire In Ancient Egpt, go for it.
(Except for coffee shop and high school AUS. I'd rather not have those.)
( The Wire )
( Alias )
( Marvel (Comics) )
( 15th Century RPF )
( Spartacus )
Like most readers, I imagine, I'm not fond of character bashing, and I despise shipping-related feuds. This doesn't mean you can't explore flaws or let any of the women - who are canonically very opinionated, not to mention that some of them are responsible for their share of deaths - express themselves in a hostile fashion. I think you know the difference between, say, Hisako reminding Brand of what Brand did to Pjotr Rasputin or Hisako venting your opinion that Brand/Beast should never have become canon. With that in mind, THANK YOU ONCE MORE for writing a story.
Your most appreciative recipient
Thirty Days of TV: Day Seventeen
Feb. 25th, 2013 04:35 pmDay 17 - Favorite mini series
That depends on several factors. Do we count miniseries which are part of a greater whole, like the one that kicked Battlestar Galactica off, or Torchwood: Children of Earth? Or do only miniseries count which have no before or after on tv? If so, does a two parter count as a miniseries or does a miniseries have to have at least three parts?
If we count a miniseries which does have a before and after on tv, but also has a self-contained story (in five episodes, in the case I'm thinking of): then it's Torchwood: Children of Earth. For reasons explained in post on the overall miniseries and this post about the female characters. If you want, you can also argue that Children of Earth illustrates that RTD works best if you give him a limited format as opposed to longer seasons, but seriously: I think it's one of the best things he did, and not just in the Whoverse. It's not something I can rewatch endlessly, but every time I do, and I think I did four or five times so far, I'm impressed, shattered and awed all over again.
If we only count a miniseries which is not part of a greater whole: Das Todesspiel, a docudrama by Heinrich Breloer, mixing interviews of the real people with acted scenes, about what our media refers to as "the German autumn", the autumn of 1977. Focused on the kidnapping of politician Hans-Martin Schleyer by the R.A.F. (which in German stands for Rote Armee Fraktion, not Royal Airforce - the terrorists referred to as "the Baader-Meinhof-Gang" in English) and the abduction of the air plane Landshut. Despite the fact the outcome is well known - Schleyer dies, the passengers of the Landshut are saved, all of them - Das Todespiel is incredibly suspenseful to watch. The interviews (of politicians, kidnapping victims, terrorists, practically anyone still alive) are great and revealing, and despite the fact some of the actors in the acted scenes don't much look like the interviewed real people, their performance is so good you believe it utterly. (Trivia note: one of the lawyers representing the terrorists, Otto Schily, decades later became our secretary of the interior and one very much on the law and order side.) Breloer later tried to repeat the success of Das Todesspiel, using the same docudrama format for a miniseries about Thomas Mann and his family, and then one about Albert Speer, but these series never reached quite the same heights.
If we only count a miniseries consisting of more than two episodes: John Adams, which I watched last year (five episodes, I think), was really well made, superbly acted, and with layered storytelling. One of the reasons why I thought Daniel Day Lewis deserved to win for his performance but not Lincoln the movie for best film (and it didn't) was that I had seen John Adams, which manages to tell a political historical story (about a US President the scriptwriters clearly think highly of) without making you feel, as Ponygirl put it, like you're attending a service of a religion you're not a part of.
( The rest of the days )
That depends on several factors. Do we count miniseries which are part of a greater whole, like the one that kicked Battlestar Galactica off, or Torchwood: Children of Earth? Or do only miniseries count which have no before or after on tv? If so, does a two parter count as a miniseries or does a miniseries have to have at least three parts?
If we count a miniseries which does have a before and after on tv, but also has a self-contained story (in five episodes, in the case I'm thinking of): then it's Torchwood: Children of Earth. For reasons explained in post on the overall miniseries and this post about the female characters. If you want, you can also argue that Children of Earth illustrates that RTD works best if you give him a limited format as opposed to longer seasons, but seriously: I think it's one of the best things he did, and not just in the Whoverse. It's not something I can rewatch endlessly, but every time I do, and I think I did four or five times so far, I'm impressed, shattered and awed all over again.
If we only count a miniseries which is not part of a greater whole: Das Todesspiel, a docudrama by Heinrich Breloer, mixing interviews of the real people with acted scenes, about what our media refers to as "the German autumn", the autumn of 1977. Focused on the kidnapping of politician Hans-Martin Schleyer by the R.A.F. (which in German stands for Rote Armee Fraktion, not Royal Airforce - the terrorists referred to as "the Baader-Meinhof-Gang" in English) and the abduction of the air plane Landshut. Despite the fact the outcome is well known - Schleyer dies, the passengers of the Landshut are saved, all of them - Das Todespiel is incredibly suspenseful to watch. The interviews (of politicians, kidnapping victims, terrorists, practically anyone still alive) are great and revealing, and despite the fact some of the actors in the acted scenes don't much look like the interviewed real people, their performance is so good you believe it utterly. (Trivia note: one of the lawyers representing the terrorists, Otto Schily, decades later became our secretary of the interior and one very much on the law and order side.) Breloer later tried to repeat the success of Das Todesspiel, using the same docudrama format for a miniseries about Thomas Mann and his family, and then one about Albert Speer, but these series never reached quite the same heights.
If we only count a miniseries consisting of more than two episodes: John Adams, which I watched last year (five episodes, I think), was really well made, superbly acted, and with layered storytelling. One of the reasons why I thought Daniel Day Lewis deserved to win for his performance but not Lincoln the movie for best film (and it didn't) was that I had seen John Adams, which manages to tell a political historical story (about a US President the scriptwriters clearly think highly of) without making you feel, as Ponygirl put it, like you're attending a service of a religion you're not a part of.
( The rest of the days )
