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: (Henry Hellrung by Imaginary Alice)
My inner mule balking at assumed wisdom, fannish consensus and my inner rooter for the fannish underdog kicked in with a vengeance yesterday. You know, I hadn't looked forward to the planned Superman & Batman film, since I had severe ideological and storytelling problems with Man of Steel, though I liked the cast, and basically thought The Dark Knight Rises was rubbish, except for Selina/Catwoman, who was fabulous. Since the production team behind both would also be responsible for the proposed Batman & Superman thing, I was (and still am) suspecting exactly the same problems that annoyed me in the former two films in the future effort. Also, hearing Frank Miller's name thrown about does not inspire confidence.

However. The near universal reaction to the casting of Ben Afflek made me decide at once that come what may, I will see this film in the cinema instead of waiting for an accidental tv viewing, as I was intending to. Because good lord, you'd think they'd cast Tony Blair. Or Mel Gibson. Personal feelings about Ben Afflek: never saw Daredevil or Gigi which I take it are the basis for Afflek loathing, however liked him as an actor in Shakespeare in Love (where he had a blast as Ned Alleyn) and more importantly in Hollywoodland where he played George Reeves. (I also very much like him as a director, but that's irrelevant as to the casting, I know.) Neither performance would put him on my "best current actors" list, but they were enough to give me positive feelings about his abilities. Now given the scripts for both Man of Steel and The Dark Knight Rises, I don't think the Batman/Bruce Wayne this particular production team writes will someone I can be fond of. But then again, he just might, because as I said: the more comments like "The thought of Ben Afflek as Batman makes me throw up a little in my mouth" I read, the more I'm starting to root for Afflek!Batman. Not just because of my inner mule but because I just don't see what Ben Afflek has done to deserve that kind of animosity. He was in a few turkeys a decade ago and also had the tabloids after him and his then girlfriend. This is true about how many actors? I mean, have you seen, say, Michael Caine's resumé? Sean Connery's? On the other hand, Afflek also acted in a couple of enjoyable films, produced some highly watchable, interesting films as a director, he can write scripts, his current marriage and family seems to leave the tabloids endlessly frustrated by being a non-scandal, and he never, whether he was popular or disliked, used his status du jour as an excuse to be an ass to people, let alone violent (which sadly still makes him an exception among celebreties). This makes me like him or at least his public persona, since I don't know the man, more than I liked most incarnations of Bruce Wayne/Batman in any medium, to tell you the truth.

Lastly: the award for best reaction to the Afflek casting goes to Kevin Smith, though. Who, if you recall, put Ben Afflek & Matt Damon in a couple of his films and upon hearing the news graced us with this quote: "Do you know what that means? I've seen Batman naked!"
selenak: (Scarlett by Olde_fashioned)
For some recent, in recent days I got more spam on lj than I got otherwise in five years. Are we due for another breakdown?

Until then, have some links, both fanfiction and meta:


Persephone . It's post-movie fic by legendary-in-several-fandoms Yahtzee, developing the complicated relationship between those characters alive by the end of the film ), it's long, and it's layered. What are you still doing here instead of reading it?

Galaxy Quest:

The Headaches, the Heartaches, the Backaches, the Flops. Gwen DeMarco and the first rise and fall of Galaxy Quest. What I appreciate especially about the world buildling is that for all that Galaxy Quest obviously takes the majority of its inspiration from Star Trek, the fictional show is one of the late 70s (i.e. presumably, like the original Battlestar Galactica, made to cash into the Star Wars craze), not 60s as ST was, and this story remembers that. Characterisation wise, this is very plausible, giving us younger versions of the people we meet in the film, and catches the film's atmosphere perfectly in its mixture between funny and poignant.

Gone With The Wind:

Scarlett O'Hara meta. I love discussing Scarlett, and had fun doing so in the comments.

Sherlock, Elementary, The Avengers, Batman:

How not to act as part of the creative team, take one:

Jonathan Ross disses Elementary, Mark Gattiss agrees. Now my own take on this is that Sherlock for all its flaws is undoubtedly the more original and better written show, but so far I like Elementary more because it gives me leads and a relationship I can honestly cheer for. But even if I loathed every second of screen time Elementary ever broadcasts, I'd still consider this bad form, because the one thing you don't do is dissing the competition in public. It only makes you look petty and pisses off those fans of your show who enjoy both. Which brings me to:

How not to act as part of the creative team, take two:

Wally Pfister (cinematographer for Christopher Nolan) disses The Avengers, calling it "an appalling film". Again, obviously I'm biased (guess which superhero film I saw multiple times this summer and own the dvd of? Not The Dark Knight Rises), but that's not the point. However, luckily this particular dissing also caused a response that may serve as a lesson:

How to actually act as part of the creative team (especially as the head of one):

To wit, Joss Whedon's response, also quoted in the article I linked. He only said, when asked about Pfister's remark: “I’m sorry to hear it, I’m a fan.” Now I don't care if you think The Avengers was a waste of space, but this is brilliant, PR wise. It a) avoids pissing off fans of Nolan's Batman trilogy, who may or may not also like The Avengers, b) utterly avoids responding to Pfister's more specific criticism (about the camera angles used in The Avengers), and c) instead makes Whedon look modest and classy, and Pfister look even more petty and envious. The man hasn't been writing dialogue since decades for nothing.:)
selenak: (Dragon by Roxicons)
And in today's variation of lamenting the blueness of the sky:  I don't get the current passion for pairing up characters from different fandoms simply because their actors played a popular slash pairing elsewhere. This post is brought to you by the coincidence of yours truly recently stumbling across the following:

1) Prince Hal, aka Henry V./ Huntsman from Snowhite and....  Here I was, hoping the success of The Hollow Crown would result in more Shakespeare fanfic, which it did, but so far the dominating genre seems to be pairing Hal with a fairy tale character which confused me for the second it took me to remember who plays the Huntsman in the recent film. Okay then.  Personally, I'd have thought Hal was more the type to go for Rumpelstilzchen (until he dumps the guy when getting respectable), but have it your way. And where, I ask you, is my Henry IV./ Marquise de Merteuil fic, based on the fact Jeremy Irons and Glenn Close played husband and wife elsewhere?

2) Charles Xavier/David 8. Not exactly what I was looking for when checking out the Prometheus section  at the AO3. Look, if you want an X-Man famous for falling for doppelgangers of his beloved, Scott Summers is your man. Also, fond as I am of the McAvoy and Fassbender incarnations, nothing will ever surpass Patrick Stewart and Ian McKellen, and I now post facto am most aggrieved the true passion of Picard and Gandalf was denied. Clearly.

3) Bane/John Blake. Given Selina Kyle was the best thing about the new Batman by almost universal agreement, I checked out the Batman section to see whether there was more Selina, and there was (thanks, fandom!), but there was also the pairing of two characters who never meet on screen in the fine tradition of Hawkeye/Coulson, I'd say, except it was obviously based on That Guy/The Other Guy from Inception, played by the same actors.  What the Trekker in me wants to know: if you can get over Bane's mask and utter lack of interest in cops as anything but canon fodder as an impediment, when is it time for Tom Hardy's Picard clone from Nemesis getting it on with Loki? They sound like soulmates, what with being into mindwiping and non-con, and I think Hiddleston and Hardy were in some BBC costume drama together.

All this being said, I must admit I await the Bilbo/Smaug slash as soon as The Hobbit hits the screen (or rather, earlier, since fandom today doesn't even need interaction as inspiration) based on the actors with some glee. Let's hear it for the true love of a Hobbit and his dragon!
selenak: (Frobisher by Letmypidgeonsgo)
Advance feeling, separate from the horrible tragedy that happened at the film's premiere: well, my flist seems to be deeply divided about that one, some saying above cut they were very disappointed (except about Selina Kyle), some praising it to the skies as THE comicbook movie of the summer. My own feelings now, after having watched it, about cut: Selina Kyle is indeed the greatest thing about the film, and Anne Hathaway leaves any naysayers doubting she could be a fine Catwoman in the dust. She makes this a film worth watching, and so I don't regret I've done it. Everything else? Oh dear. OH DEAR.

Spoilers think Christopher Nolan would agree with Corialanus if HE directed that play )
selenak: (Watchmen by Groaty)
Something I forgot to mention: during those three times I watched The Avengers already, there were, of course, trailers for other superhero movies. If you don't want to be spoiled for Batman and Spider-man trailers, do not read further.

1.) The Dark Knight Rises (I think that's the title?) : aka Nolan goes third. Christopher Nolan's Batman films are basically the Wagnerian opera to the Stephen Sondheim musical that is Joss Whedon's Avengers. (Yes, I think that's a perfectly valid musical analogue and I dare you to say otherwise.) Now I'm actually fond of Wagnerian opera (see also: various reviews of seeing same performed), but I also have to be in the mood for it, plus the trailer reminded me of my Christopher Nolan admirations and frustrations. Visual epic grandeur: he has it, no question. And he's excellent with obsessive, screwed up male characters. But he and his world take themselves so very, very seriously, relentlessly, without a break. Which is fitting for Batman, I suppose, if you want to avoid the camp route, but: it also makes me feel I like a need to breathe after watching his epics and it keeps the characters at a distance for me. (Oddly enough, not in the Prestige, but in every other Nolan pic, not just his Batman films.) Whereas one of the things I appreciate about the Sondheim-Whedon approach is that while all of these characters have gone or go through horrible tragedies as well, most of them do have a sense of the absurd and a sense of humor, and so does the narrative, and this doesn't negate or cheapen the dark stuff at all. Something like the duet between Mrs. Lovett and Sweeney Todd after Sweeney had his epiphany - you know, the "have a little priest" one - would be impossible in Wagner - Wagner could have written Sweeney, but never a character like Mrs. Lovett. And it's impossible to imagine a moment in the Batman-Nolanverse on the lines of two spoilery things that happen in Avengers ). And the angsty stuff comes in big, shattering aria form in the Nolan Batverse. I can't imagine a revelation like the one Bruce Banner makes while everyone else is arguing ) happening in a Nolan film; it would have been played not as a quiet, understated part of an otherwise stormy scene but as a Big Moment (tm) complete with philosophical statement about lone heroic destinies and the awfulness and tragedy of life.

Moving away from apples versus oranges and staying with the apples, the trailer offered me my first look at Nolan's take on Selina Kyle, which is the one thing I'm most curious about in this outing because famous for three dimensional female characters, Nolan is not. There are several interpretations of Catwoman to choose from - the bored socialite going jewel thief from decades past, the former prostitute remaking herself into a vigilante (I think Frank Miller came up with thish one in the 80s, though the small sketch from Year One was made into a more interesting and elaborate story by another writer in Her Sister's Keeper), Tim Burton's bullied secretary going empowered domina, and some others. Nolan's Selina, going by the trailer, shows up as a socialite but actually appears to be of poor origin, going by what she says to Bruce Wayne, and with a have-not grudge against the haves. The Dark Night caused a bit of a discussion about inherent authorianism of the genre and the depiction of the population of Gotham as people who can't handle the truth and need to be protected from it (though I thought that was balanced by how the Joker's suvivalist game actually played out, which was an affirmation of faith that no, humans (non-superhero, ordinary ones) can also be able to choose not to kill under extreme pressure instead of confirming humanity is rotten. Anyway, I'm not sure a class war story can be done well in Nolan's Batmanverse without ending up making some statements about only pyschopaths or misguided people being for a revolution, but that's actually not due to any Christopher Nolan viewing experience of mine and more due to Frank Miller's Return of the Dark Knight, so maybe I should be more optimistic. And get in the mood for Wagnerian opera again.

2.) The Amazing Spider-Man. Poor Peter Parker. Doomed to be rebooted in continuities everywhere because the people in charge just don't want him to grow up. The big argument Quesada & Co. used for Brand New Day, which changed comicverse Spidey from a married adult who'd spent the last two decades being written in a stable relationship with his wife to a luckless eternal adolescent living with his aunt was that the appeal of Peter Parker otherwise was lost since according to them it consisted in him being a figure of identification only if, other than his superpowers, he was the eternally bullied unlucky in romance overlooked teen. But at least that happened after a few decades wherein the poor guy was allowed to actually grow and grow up, whereas the movieverse reboot happens with breathtaking speed. Now actually I'm not die-hard about the Sam Raimi movies as the best ever, and no, I don't mean that just the third is, err, flawed; the first two which tend to be praised by most have their big problems for me as well, though they certainly entertained me. And if the trailer is anything to go buy, Garfield!Peter actually quips, which makes him closer to the comicverse version than Toby!Peter. (I had seen the first Spider-Man film before reading any of the comics, so the first big difference I noticed when catching up on the comics was that being a relentless quipster is actually a core Spidey character trait, and it's suprising that Sam Raimi, otherwise quite at home with the quippy heroes, never used that.) Also a plus: Gwen Stacy seems to find out about Peter's secret identity early on. Which is good fo rme because I'm so over keeping-your-super-ID-from-your-significant-other tales right now. But it looks like a big part of the plot uses the Ultimateverse idea of Peter's parents being experimenting scientists etc., and you know, I never liked that all too much. Leave the "my parents were murdered! Therefore, I fight crime!" thing to Bruce Wayne, people. And the "your superpowers were no accident" thing of destiny is not something I like, either. To me, one of the appealing things about Peter Parker in the traditional 616 continuity is that he really had a normal life before that spider and wasn't chosen or or trained or inherited anything; it was just an accident, and what resulted from it was what he made of it.

Lastly: now I know Spider-man, like the X-Men, was licensed to other studios because the Marvel one had not yet been established when the first Spider film was made, and therefore we don't get crossover scenes, but a line or so of dialogue would be nice and not impossible.
selenak: (Puppet Angel - Kathyh)
I know I've writtten and posted a rant about this very subject, the trivialization of the term "Nazi" in English, and now I can't find it again. Did anyone by any chance preserve it in their memories? Anyway: this post reminds me just how much I'm irked by it again. So do several of the comments. On the other hand, you learn something new every day: one of the comments brought up the Hitler-refused-to-shake-Jesse-Owens'-hand story which btw I grew up with as well and another poster replied that Owens had said: "Hitler didn't snub me – it was FDR who snubbed me. The president didn't even send me a telegram." This was news to me, I googled, and it was indeed an authentic Owens quote.

Anyway, being linguistically and historically annoyed (and newly informed about a detail), I also met my quota of being annoyed by fannish habits, subsection: response to female characters before they even utter one word on screen. Re: Lucy Liu casting news, what she said. This is the very first detail making me remotely interested in Elementary, but if I come across much more "zomg! our holy slash pairing RUINED BY GENDERSWAP!" reactions, I'm tuning in for that reason alone. And hope the next Batman movie will have a surprise!female Robin which Nolan somehow managed to smuggle by the spoiler hounds, so there. (Otoh Christopher Nolan, aka the man who gave Commissioner Gordon a son as a plot point while totally ignoring the canonical niece/adopted daughter... I doubt it.) I'm also having flashbacks to Dirk Benedict making an utter ass of himself by ranting about how horrible a female Starbuck was. Incidentally, I anti-shipped Kara/Lee, but they do demonstrate effectively that making one half of a popular slash pairing female in a new tv incarnation might lead to on screen sex, it does not necessarily lead to a happy ending. Or even the conclusion that sex was a good idea. More the opposite. (Kara's Starbuck and Lee's Apollo made good friends and absolutely catastrophic lovers. Which thankfully they figured out at last.)

And while I'm at it: you know what else annoys me? The whole nudge-nudge, wink-wink approach in various so called "bromances". Sherlock and the Guy Ritchie Sherlock Holmes actually being prime examples. Look, it may have been fun when Gore Vidal wrote his Ben Hur script like that in the 50s, but, current American Republican candidates for the presidency not withstanding, theoretically we live in more advanced times. Asexual Holmes is fine with me. Gay Holmes is fine with me. Bi Holmes is fine with me. Straight Holmes is fine with me. (Ditto for Watson.) But what is so getting old is the endless playing coy and runnig "gay! only not!" gags. Either go for main text or find another running gag, I say.
selenak: (Gentlemen of the Theatre by Kathyh)
Horribly rl business makes for short lj entries. But:

ST: Voyager vid rec:

Machine is a cool and well-made Seven of Nine character portrait. I never was as fannish about Voy as I was about TNG and DS9, but I liked Seven, the Doctor, Janeway and Torres a lot, so when I see fannish endeavours featuring any of them, I perk up a bit. This one worked really well for me both for the great match between song and subject and because while we see Seven develop, and her interaction with the characters having an impact on her (and vice versa), like Janeway, the Doctor, Naomi Wildman et al, a certain part from the end of s7 is ignored as it should be.

Apparantly the next Fringe episode to be broadcast is called "Firefly", which made some talented person use the Fireflytitle sequence and match it to the Fringe characters, here.

And lastly: re: upcoming shows and genre movies: am still undecided whether or not to continue with Being Human (aka the "Nina and Annie love versus George and Mitchell dislike, which one will win?" dilemma), no opinion on the casting of Anne Hathaway in the third Nolan Batman movie (my image of Selina Kyle is forever influenced by having read Her Sister's Keeper, which means she looks utterly unlike Anne Hathaway or Michelle Pfeiffer), but I wonder whether [personal profile] londonkds' speculation about Nolan's interpretation of Catwoman will turn out to be true, and they're making it hard for me not to look forward to X-Men: First Class with posting stills like this one featuring young Charles and Erik.
selenak: (Six by Nyuszi)
Something I didn't mention in my Dark Knight review: the casting for minor roles gave me all kind of crazy crossover ideas. As in: OMG Richard from Lost is the mayor of Gotham! (Complete with eyeliner.) Did the island arrange that? Does Ben know? (Probably.) Or: waiiiiit - isn't that, yes it is, Daniel Holtz, currently employed among Gotham's finest, it seems. And ZOMG! Eric Roberts! Clearly, the Company is everywhere. (We do not speak of Roberts' role in another cult series.)

Some Battlestar Galactica links:

Six versus Eight versus Identity: fantastic meta on the two most prominent Cylon models - focus on Caprica Six and Athena, but the other versions are much taken into consideration as well. Very insightful.

And fanfiction: A comforting lie, post-Revelations Gaeta/Baltar, great characterisation of both parties.

Which brings me to BSG and slash and how there aren't many combinations I can actually see having sex, whereas I can see while a lot of subtext and/or emotional same-sex involvement. Take Saul Tigh and Bill Adama. [ profile] queenofthorns once called this the big love story of BSG and I think she was only semi-joking. She may be right. But I can't see them having sex at any point of their decades together, or now, because I seriously don't think that's what they want from each other.

And then we have Starbuck, who back in the first season was cited as a prime character to turn straight girls gay. Within the BSGverse, however, it wasn't until the second season and Resurrection Ship I that I first saw slashy vibes in a scene involving Kara and another woman, and then it was a mixture between maternal and sexual, actually, with Admiral Cain. Emphasis on the maternal, though; Kara, still on the lookout to appease a dead woman, really latched on to this, and being Kara, i.e. burdened with the idea that people who have sex with her clearly must be less admirable than she used to think, wouldn't have gone for a sexual encounter as long as she had the hero worship going on. (Which she did, despite Adama's order and Cain's less than admirable actions there; just check out her eulogy for Cain.)

Speaking of the Pegasus episodes, back then I saw someone suggest Helo/Tyrol, based on their shared situation, love for Sharon, etc., but again, got no sexual vibe. Same for Helo/any of the other guys, and Tyrol/any one else, for that matter. With Lee, I could and still can see something with Zarek, both subtextually and textually, because they have the requisite vibe in all of their scenes and Zarek has had an ironic courtship attitude towards Lee from the get-go, but anyone else/Adama Junior, nah. Which leaves Felix Gaeta and his gigantic season 1 crush on Gaius Baltar which turns to disappointed love and passionate hate pretty much textually. In s1 and 2, this seemed completely one sided to me, which is always a turn-off (I'm not interested in pairings, be they slash or het, where both sides aren't emotionally invested), but starting with the scene in Exodus II and Baltar's reaction to Gaeta pulling a gun at him, I thought, hmmm. Certain scenes in s3 and one particular scene in s4 cemented the impression that our Gaius, as much as he can in his self-centered way, regarded Gaeta as a bit more than a useful sidekick, hence my reading the occasional fanfic.

Footnote: and then there are the Cylons, who are textually bisexual. Well, the Sixes and D'Anna are, and if you take podcasts into account, then Ron & Co. are working from the assumption that pretty much any possible combination between models has been tried. Now one can justly complain that we've yet to see, say, Leoben/Doral, but given certain m/f precedents, you can bet the first on screen Cylon male/male action will involve Cavil. Don't say I didn't warn you. Still, Cavil and Leoben are the only male models who have been given enough characterisation by the show for authors to work with - the Dorals and Simons pretty much are background in every scene they are in, if they show up at all - so I'm not surprised neither show or fanfic comes up with this. (Although: the cynical atheist and the ultimate mystic. Fanfic has worked with less reasons.) Meanwhile, there definitely should be more Three/any Six, but what I really want right now is Three continuing to play mind games with Laura Roslin. Way more interesting than her scenes with Adama.
selenak: (Carl Denham by grayrace)
I believe in... )
selenak: (Spiderman - Sabine)
I saw Batman Begins today and liked it quite a lot. This has to be the first Batman film which is actually more interested in its hero than in its villains (not that those weren't fabulous, too), and Christian Bale as young Bruce Wayne so surpasses Keaton and Clooney combined that it's not even funny. Also, as someone who loved Batman: Year One and Jeff Loeb's The Long Halloween, I was thrilled that the film obviously took them as inspirations.

Spoilery Details )


New Alias fanfic from yours truly, both responses to challenges.

"In Flight"


"In Flight" is about Emily and Irina during Truth Takes Time in season 2, no spoilers beyond that, whereas "Lessons", featuring Elena Derevko, has spoilers for the entire four seasons.

Meanwhile, [ profile] kangeiko has catered to my own personal Bad Wrong fetish and written a greatvignette about Sydney and Sloane, set in early season 3.


selenak: (Default)

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