selenak: (uptonogood - c.elisa)
1. Norma Bates (Bates Motel version)

2. Philip Jennings (The Americans)

3. Missy (aka Gomez!Master) (Doctor Who)

4. Jimmy McGill (Better Call Saul)

5. Rachel Duncan (Orphan Black)

6. James McGraw/Captain Flint (Black Sails)

7. Ahsoka Tano (Star Wars: The Clone Wars)

8. Bernie Gunther (Philip Kerr: The Bernie Gunther Mysteries)

9. Sarah Connor (Terminator: The Sarah Connor Chronicles)

10. Alfred of Wessex (The Last Kingdom)

11. Andra'ath/Miss Quill (Class)

12. Londo Mollari (Babylon 5)

13. Phyllis Crane (Call the Midwife)

14. Doc Holliday (Wynona Earp incarnation)

15. Jessica Jones (MCU version)

And you came up with some awesome prompts!

Now the questions: )
selenak: (The Americans by Tinny)
Emmmy nominations: as a fan of The Americans, I'm pleased that Keri Russell, Matthew Rhys and Alison Wright were all three recognized at last. Will root for them accordingly, which is all the easier since frustratingly, Bates Motel' final year went without an Emmy nomination again. Freddy Highmore has been fantastic throughout, and especially in this last installment where the show had to at last enter the same narrative territory as Psycho, and succeeded with flying colours, very much because young Highmore has managed to make an iconic role his own. (Very Farmiglia would have deserved nominations in all preceeding years, but I can understand she didn't get one this year, since she played "only" Mother, not Norma anymore.) My loyalties might be slightly split for best actor because of Bob Odenkirk for Better Call Saul, and I'd be happy if he wins, too, but if I had to decide and push came to shove, I'd go with Rhys over Odenkirk. Speaking of Better Call Saul, I call fail on the nomination of Jonathan Banks for best supporting actor over Michael McKean (Chuck). Or for that matter Michael Mando (who plays Nacho). Look, I get the Mike cult, and Banks is always solid, but Mike really did not have all that much to do this season. Whereas Nacho got core emotional dilemma stuff, and the actor rose to the task. And McKean may have played the most disliked character on the show, but I don't think the most fervent Chuck hater on the planet would dispute he did so amazingly, and this season, it was a lynchpin performance, with Chicanery and the s3 finale as the two particularly outstanding episodes in this regard. As for the utter lack of nomination for Rhea Seahorn as Kim, don't get me started. Though, again: makes it easier to root wholeheartedly for Keri Russell and for Alison Wright in their respective categories.

_____

Yesterday there was a lengthy interview with Christopher Nolan in one of my regular papers, apropos his upcoming movie Dunkirk. Two issues caught my particular attention: a) he mentions having written the script for a movie about Howard Hughes, only to be foiled by the Scorsese/Di Caprio movie "Aviator", which made it unlikely for a few years studios would finance another movie about Hughes, and now when the time would have been right again, Warren Beatty struck first and made Hughes a non-subject for a few years more. But, quoth Nolan, he hasn't given up and swears this script is the best he ever wrote. To channel some writerly frustration, he added, he put some of his Howard Hughes characterisation into Bruce Wayne in his three Batman movies. And suddenly Bruce's utterly self indulgent hermit phase between movies II and III as well as his bizarre rewriting on why things didn't work out with Rachel in I as voiced by him in II appears in a new light. :) Or maybe Howard Hughes' decades in Las Vegas hotel rooms do - clearly the cover for a secret vigilante identity. Come to think of it, old Hughes sueing unauthorized biographers does resemble the Frank Miller version of Bruce Wayne in The Dark Knight Returns somewhwat, no?

Anyway: b) the other particularly interesting-to-me Nolan statement was that in preparation for Dunkirk, he watched All Quiet on the Western Front (classic 1930 film version of Erich Maria Remarque's WWI novel, directed by Lewis Milestone) and was amazed such a movie was possible in 1930. But, says Nolan, it probably only was because it was an American movie based on a German novel, because an American director would never have presented American soldiers in this way, and the Germans wouldn't have made the movie to begin with, "so hooray for one culture speaking for another in this case", ends Nolan. Thinking about it, I concluded he was right that the German film industry would not have made All Quiet on the Western Front in the early 1930s - the book had been a big bestseller in Germany, but the movies were utterly dominated by the UFA by then, and the UFA was owned by Alfred Hugenberg, hardcore conservative who'd go on to support Hitler in his 1932 and 1933 election campaigns. As it was Goebbels orchestrated an anti All Quiet on the Western Front campaign when the movie was released in Germany - SA guys loudly protesting in the cinemas, white mice released, I kid you not -with the result that the movie was quickly withdrawn and most Germans saw it only once the Third Reich had come and gone. (My paternal grandparents back in the day did see it in the cinema, but they had to travel to Belgium to do so, which they did because not only did Granddad own the book, but he regarded it as a matter of local pride - he was born and raised just a few streets away from where Remarque, the author, had been born and raised in Osnabrück. And my grandfather, who'd lost his father in WWI when he, Granddad, was still a toddler, always regarded the book as a way to figure out what his father might have been like.)

Last year, when I heard a lecture by Elizabeth Bronfen on war movies in Zurich, she compared the aesthetic and thematic treatment of All Quiet on the Western Front with what WWII movies and news reels quickly established as standard in US movies, and it really is strikingly different. Not being an expert on war movies, my lay woman opinion would be Nolan is right in the American part of his statement as well, that an American movie about US soldiers like All Quiet on the Western Front at the time and for some time to come would never have been made. Probably not until the genre of Vietnam movies started, and that came and went again; more recent US movies, no matter about which war, which present US soldiers being lured into a war by propaganda and then fighting pointless battles and dying with no heroic justification or reward whatsoever (i.e. not even saving a comrade's life or turning a battle, or getting an epilogue declaring that their cause lives on or their sacrifice is remembered or what not), don't come to mind, either. Or am I missing something?
selenak: (Norma Bates by Ciaimpala)
"I lingered round them, under that benign sky; watched the moths fluttering among the heath, and hare-bells; listened to the soft wind breathing through the grass; and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth."

Read more... )
selenak: (Norma Bates by Ciaimpala)
In which my one remaining cmplaint is beautifully dealt with. All is forgiven, show. That was awesome.

Read more... )
selenak: (Norma Bates by Ciaimpala)
Not my Easter post: but I didn’t want to get even further behind with my reviews. Easter post to come this weekend. On to White Pine Bay, where it’s winter.

When this is all over, I’ll let you come back )
selenak: (Hitchcock by Misbegotten)
The episodes tend to blurr in my head now, but that doesn't mean they're not all excellent. This season promises to finish the show in top form, and save that I desperately miss SPOILER, which will forever prevent it from being my favourite, I continue to be impressed as hell.

Read more... )
selenak: (Norma Bates by Ciaimpala)
In which the show arrives at an expected result in an unexpected way, and the luck of Men Who Love Norma And Whom Norma Loved continues to be rotten.

Read more... )
selenak: (Norma by Benchable)
In which Norman encounters two men who also loved Norma. It doesn't end well.

Read more... )
selenak: (Norma Bates by Ciaimpala)
And the final season begins.

Read more... )
selenak: (Black Sails by Violateraindrop)
1. Your main fandom of the year?

As in previous years, I remain a multifandom woman. An old fandom I got somewhat back into was Star Wars, but not due to The Force Awakens, due to finally marathoning The Clone Wars. Of shows with an open, not yet concluded canon, I continue to love The Americans, Better Call Saul and Bates Motel, but Black Sails is probably the one I feel most intensely for. However, due to tumblr aversion, I’m not exactly in the fandom, as not many Black Sails fans seem to be on dw or lj.


2. Your favourite film watched this year?

Slash. I watched it at the Munich Film Festival in summer, attended the Q & A with the director, and have not changed my impression, which was: I loved and adored this movie. It filled me with joy the same way Galaxy Quest did for a lot of similar reasons. Currently, there are some people badmouthing it on the internet, usually people who haven’t watched it, and that irks me the way it always does when people shit on something you love, especially at a time when fandom is my escape from the horrors of the real world. But such is life, and thankfully the movie will still be there when the haters have moved on to the next subject.


3. Your favourite book read this year?

I read a lot of non fiction this year, the most impressive of which was probably The Pigeon Tunnel by John Le Carré. But the one I loved best was probably fiction, to wit, Oath Bound by Jo Graham and Melissa Scott. Oh, and I did a reread of the Angelique series I’d loved as a child and teen, and enjoyed those novels as much as ever.


4. Your favourite TV show of the year?

See above: Black Sails, which had a fantastic third season and keeps getting better and better. I’m ready to get my heart broken by the fourth and final season, and am confident it will be done in a narratively satisfying way. Incidentally, all my shows except for Elementary had great seasons in 2016, and I didn’t give up any the way I did in 2015.


5. Your favourite online fandom community of the year?

Still [profile] the_americans.

6. Your best new fandom discovery of the year?

Very unexpectedly, this was Class, the Doctor Who spin-off which premiered this fall. As far as DW spin-offs are concerned, Torchwood had had a very rocky first season, and while I adored The Sarah Jane Adventures, I went into it because of Sarah Jane, and all the Class characters were new, so I had no idea what to expect. Certainly not the strong first season and ensemble-tastic tale I got. Go show! May you get many seasons more.


7. Your biggest fandom disappointment of the year?

None so great that it drove me to abandon the show, but Elementary’s fourth season, with the exception of the Paul Cornell episode, had been a let down, and season 5 alas hasn’t pulled off the season 3 trick yet of coming back strong. It’s still enjoyable, though.


8. Your TV boyfriend of the year?

In terms of “who would I actually date”, still pre-Saul Jimmy McGill. In terms of “whose ongoing adventures was I most emotionally invested in” , John Silver. In terms of “who would I definitely not date, not even for a one night stand, but good lord, am I emotionally invested, as evidenced by the fact I’ve been writing him again: Anakin Skywalker, human disaster extraordinaire. I had never lost my fondness for Anakin, of course, but The Clone Wars brought back the urge to write him in a big fashion.

9. Your TV girlfriend of the year?

Kim Wexler from Better Call Saul was the core of the second season and a Queen among women, and I adore her, I completely fell for Ahsoka from The Clone Wars, but this year, there can only be one choice (not least due to what happened): Norma Bates, the most doomed mother ever, antiheroine of my heart, so flawed, so passionate, so human, so capable of utter joy and utter rage.

10. Your biggest squee moment of the year?

It’s a tie between John Silver deciding the way to win James Flint’s respect is to tell him Silver has managed to screw him over re: the Urca gold while they’re en route to some shark fighting, and that this tactic works, in Black Sails 3.03., and Norma Bates in Bates Motel 4.06. responding to perceived blackmail with one of her extraordinary raw emotional outbursts, laying her past wide open, and the thought to be blackmailer instead actually repairing her window while the guy she was sure she’d lose by this honesty instead responds with “Where are we going?” Which is the most romantic line you’ll ever hear on this show, in context.


11. The most missed of your old fandoms?

Class made me nostalgic for Buffy. But not for the ship wars. Good lord, not for the ship wars. Also, Highlander.

12. The fandom you haven’t tried yet, but want to?

Mr. Robot, with the eternal “if I find the time” disclaimer.

13. Your biggest fan anticipations for the New Year?

Black Sails season 4, American Gods the tv series, and Arrival, of which I have heard very good things but which I haven’t managed to watch yet. I hope it’ll stick around in the cinemas until I can.
selenak: (Norma Bates by Ciaimpala)
In which the show decides it's not a melodrama, but a tragedy.

Read more... )
selenak: (Norma Bates by Ciaimpala)
In which the show creators prove that the road to hell is truly paved by good intentions.

Read more... )
selenak: (Norma by Benchable)
For which Freddie Highmore wrote the script, thus proving he's talented in that department as well. Is there no end to what this kid young man can do? Seriously. If you've watched the episode, here are headwriter/producer Kerry Ehrin and Freddie Highmore discussing it.

You're such a hypocrite )
selenak: (Norma Bates by Ciaimpala)
In which Norman makes a discovery, and Freddie Highmore adds yet another entry into his "Give this kid young man an Emmy NOW" resumé.

Read more... )
selenak: (Norma by Benchable)
In which Norma and Norman make emotional progress, even though only one of them is in therapy, and the actors (again) deserve all the awards.

Read more... )
selenak: (Norma Bates by Ciaimpala)
In which two people figure things about about Norma and Norman. These two people aren't Norma and Norman.

Read more... )
selenak: (Norma Bates by Ciaimpala)
Which is downright fluffy for this show, in a good way. Mind you, this still means darkness set up s and heartbreaking moments.

Read more... )
selenak: (Norma Bates by Ciaimpala)
In which everyone gets a break. Sort of. In that ticking time bomb way.

Read more... )
selenak: (Norma by Benchable)
In which, despite knowing it's only the second episode of the season and the show has already been renewed for a fifth (and final) one, the writers and actors managed to scare me with the prospect of...

Read more... )
selenak: (Norma by Benchable)
And I finally had the chance to watch my favourite doomed mother, her offsprings, and their screwed-up friends.

Read more... )

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