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selenak: (Partners by Nicole)
The reason why I haven't been doing the character meme making the rounds again on my flist recently is that most of the questions are either 'shipping-centric - "Which are your five favourite/least favourite 'ships" or go in the "which characters do you love/despite" region. And my problem is what with many of my fandoms, those questions don't apply. Take Firefly or Farscape or Blake's 7. I basically like all the characters, in varying degrees, admittedly, but I can't say I really hate a character or a relationship. (No, people we're supposed to boo-hiss like Niska or Simon and River's parents or Grayza don't count.) And if you asked me this about Babylon 5 or DS9, I could maybe come up with one relationship and one character I genuinely dislike (and wasn't meant to), but not more, and one loved relationship plus lots and lots of well-liked ones are equally unsuitable for this meme. I'd have to fib. It ties with me being a gen person at heart, I suppose; I'm not in a show/film/book for the romances or even the subtext, though of course individual relationships, platonic or otherwise, can become an important reason why I enjoy a show/film/book. The Londo/G'Kar relationship, for example, is of course a major reason why I fell in love with B5 back then and love it to this day. But it never was the only reason, and while after a decade of not finding any slash about those two I wrote some myself, I don't have to see their relationship as a romance in order to enjoy it; it's fascinating without (or with) a sexual aspect.

There are fandoms I could do the meme for, but the relationships/characters in the "despise" category would probably be mostly fanfic creations. Heroes comes to mind. Hiro/Charlie aside, I don't think any of the on screen romances were particularly well done - as opposed to the family relationships, friendships and marriages - , but I don't hate or despise them. I don't have any strong feelings about them one way or the other. On the other hand, the fact that season 2 made me suddenly care for and be interested in Mohinder also resulted in me realizing that I've stopped finding Sylar/Anyone relationships funny and have moved to being genuinenly creeped out by and loathing the very existence of Sylar pairings. (Well, except Sylar/Mary Sue. That is STILL funny.) It's not that I can't see where the Mylar comes from - they do have chemistry, and Sylar is undoubtedly obsessed - but Mohinder, Parasite aside, is rather healthily unobsessed with Sylar. He's not interested in killing the guy himself (which leads to such things as phonecalls to the police (The Hard Part) or luring Sylar in front of security cameras (Powerless) if he is forced to deal with him), he's not thinking about him when he's not around, and he doesn't show anything but negative reactions when Sylar is. Which means I really can't see passionate enemy sex any time soon, and don't even get me started on scenarios in which Mohinder makes Molly, whose parents were killed by Sylar, live anywhere near him. As for Sylar/Claire or Sylar/Peter... I'll see your "ew" and raise you a "yuck". So my "five pairings you despise" list for Heroes would probably sound like this: Sylar/ *insert list of other Heroes characters* But, and this brings me back to the start of this paragraph, all these pairings aren't actually creations of the show. They're fanfic creations. And I'm absolutely aware that some fanfic pairings I enjoy would be considered disturbing, creepy or rantworthy by someone else. So, glass house, stones, etc.

To go back to on screen romances: the very few that have made me feel something like genuine dislike verging on hate, or on the other hand really passionate love (as opposed to indifference on the one hand and various degrees of mild fondness but not love on the other) are probably saying something about what works and doesn't work for me in terms of a show, too. Oddly enough, the Jossverse, which arguably gave a lot of screentime to its various romances, doesn't come to mind, and I love BTVS and AtS and am very fond of Firefly. But all the romantic relationships there qualify only for the "varying degrees of fondness" definition - the relationships I loved were non-romantic, with the exception of Angel/Darla, which, err, wasn't exactly a romance, either.

However, I do love the Lois/Clark - or if you look at the way it was written for the first two seasons, Lois/Clark/Superman - relationship in Lois & Clark, and to this day this remains for me my favourite incarnation of those characters and their romance. Looking back on the show, I can't figure out why this worked for me whereas Ned/Chuck in Pushing Daisies never gets out of the mild indifference zone, because both relationships are written as romantic comedies and definite pairings, i.e. while the leads might however temporarily consider other candidates in their minds, the narrative leaves no doubt they're meant for each other and will end up with each other. Perhaps the difference to me is that I do adore these particular incarnations of Lois Lane and Clark Kent as individuals, too, and Ned and Chuck never get more than benign indifference from me, either (as opposed to Olive, Emerson et al).

On the "canon romance invoking passionate dislike/hate" side of things, well. Three examples come to mind, and in all three cases, they're limited to a specific time period, and don't apply to the entire duration of the show. And again, I'm not counting something like Dexter/Lila, which was written to evoke hostility; I'm talking about on screen romances that were meant to evoke emotional support for the lovers. So, my three hated canon romances:

1) Kara/Lee (BSG). I'm currently rewatching season 3, and I really have to press the button as soon as their scenes come up (pre-Maelstrom, that is - I do like their scenes there), otherwise I get into hate and ranting mood again. I'm all for interestingly messed up relationships, but that one was dreary, it brought out the worst in each character - Lee came across like a self-absorbed, self-pitying twit, and Kara as a selfish and abusive child - and it didn't contribute anything to the overall narrative. Say what you want about Baltar and Six, but their affair actually had a function in the overall plot from the start and continued to have it all the way through - whereas you could cut out every single Kara/Lee scene from mid-season 2 onwards and not a single plot point would be rendered incomprehensible. Lastly, the writing for each character got ever so much better as soon as they finally broke it off that the show should be forbidden from ever letting them go near romance territory again.

2) Sydney/Vaughn in season 3 of Alias. Not before, not after, but in season 3, their scenes together are of the same dreary, insufferable quality as the pair mentioned above. Vaughn worked quite well as Sydney's emotional support in s1 and 2, and s4 acknowledged they had issues, let them overcome them and most importantly showed why they were actually good for each other as a couple. But s3 - it wasn't Vaughn's marriage that was the problem, it was that he behaved like a selfish twit and Sydney like a mooning teenager (complete with use of the word "soulmate") which made the pairing so obnoxious to me, during that period. Thank JJ for Sydney's scenes with people not Vaughn (i.e. Will, Weiss, Jack and Sloane!) which allowed me to retain my affection for her, and of course for all the Jack and Arvin scenes in that season anyway.

3) John/Aeryn in season 4 of Farscape. Same thing, again, repeat. Not before, not after. It's also the difference between well plotted angst with emotional pay off and gratitious angst with cheap resolution, when you compare it with season 3, where the two Johns arc provided a good reason for the John/Aeryn divide in the last third, and came across as heartbreaking, yet inevitable. But in s4, the difficulties used to separate Farcape's main couple were introduced and then never resolved - Aeryn bringing Scorpius on board, John taking the Laka - with the end of "Mental as Anything" as the cheapest resolution without any pay off ever; Aeryn who in previous seasons had had her own relationships and her own agenda now was All About John, but it was hard to see how their relationship was good for them. It only seemed to make them both miserable, and not in interesting ways. Again, this isn't true for previous seasons, and it's definitely not true for The Peacekeeper Wars which makes John and Aeryn into a functional couple again, but in season 4, I hit the fast forward button every time when they're alone together.

Preliminary conclusion from all of this: I think that the three disliked pairings have in common, and what separates them from a loved pairing like Lois and Clark, is this: during the time period I hate the pairings, their participants were presented as having no other agenda but each other, not caring about anything else but each other, and also being generally useless. Whereas the Lois/Clark romance might have been the central narrative of Lois & Clark, but Lois being a reporter was central to her being, and she never forgot that, Clark/Superman was more laid back but as invested in being a reporter, and they were about the scoop, finding out the truth and sure, fighting evil as much as about each other. As soon as BSG gave Kara and Lee quests of their own again, as soon as Farscape made John and Aeryn into "Butch and Sundance" again, a fighting team that did care what was going on in the Unchartered Territories, my feelings of violent hostility ceased. In short, all you need is not love. Love is important, but if that's all, you annoy me, character. Whether in canon or in fanfic.
selenak: (FangedFour - Wisteria)
I finally got around to uploading my Alias Dickens pastiche, retitled Visitation, as well as various Jossverse ficlets written in recent months at ffn. This, together with [livejournal.com profile] tenyearsofbuffy (where you should leave a prompt because inspiring other people to write fanfic you want to read is the best way to celebrate a BTVS anniversary), put me in a Fanged Four kind of mood. I also checked on the excellent incest post [livejournal.com profile] kangeiko wrote a while ago. In one of the newer replies, [livejournal.com profile] peasant_ recalls the objection to Drusilla as Spike's sire which came after Fool for Love was broadcast, mainly from Spike/Angel(us) 'shippers, on the grounds of the way it changed the dynamic. (And, of course, jossed a lot of fanfic.)

This got me reflecting on why I reacted differently back then. Which rather started in season 1 of Angel/s4 of BTVS. Up to that point, most backstory fanfiction (based on the information as given in s1 and s2 of BTVS) for our recurring vampires focused on the Angel/Drusilla/Spike triad, with the emphasis either being on Dru/Spike or Angel(us)/Spike, depending on the writer in question. There was a suspicious resemblance to earlier vampire "families" , such as Lestat/Louis/Claudia in Anne Rice's Interview with the Vampire (which, for all their mocking, obviously not just the Mutant Enemy scriptwriters but most of the fans had read) and LaCroix/Nick/Janette in Forever Knight; the male sire of the other two, whose control and general rotten bastardness was resented by the younger male, while there was simultanously emotional dependence and/or a certain erotic attraction; the female used as a means of control of the younger male. The main emotional struggle is between the two males; the female figure is oddly passive. (This, btw, isn't true for Claudia, of course, but certainly of the way Angel/Spike/Dru was written back then.) Someone completely absent in said backstory fanfiction written during the early seasons was Darla. Which wasn't surprising. Though she had been established as Angel's sire in season 1 of BTVS, she had not been nearly as fleshed out as Spike and Drusilla a season later, and the only canon to go on regarding her relationship with Angel was Angel the episode, in which he ends up staking her to save Buffy, and the brief glimpse at her siring him in the first flashback of Becoming. I might have missed something, but I think the only Darla backstory fanfic I saw which was written pre-AtS was about her and the Master. She certainly wasn't in any of the backstory fanfic involving Angel, Spike and Dru I had read; if she was mentioned at all, it was assumed that she and Angelus parted ways soon after her siring him.

Season 1 of AtS, while not bringing Darla actually back until the very end, in a cliffhanger, for the first time gave us a closer look at her via flashbacks, in the episodes Prodigal and Five by Five (which, being set at the very beginning and the end of Angel's 150 years as Angelus before he got souled the first time, incidentally established or at least strongly hinted she was around for all that time). Season 2 then made the Angel/Darla relationship its primary focus, both in the present and in flashbacks, and also gave us dates. As in: Darla sires Angel in 1753. Angel sires Drusilla in 1860. Drusilla sires Spike in 1880.

Forget the who-sired-Spike question for the moment; this alone presented a very different dynamic from what fanfiction had assumed. Spike and Angel(us) were together only for around twenty years; Drusilla had been with him for forty years. Darla and Angel(us), on the other hand, had been together for over a century before Drusilla, and 150 years all in all pre-soul. Even more importantly, Angelus is not presented as the dastardly-yet-attractive Uberpatriarch fanfic had described him as. If anyone has the emotional control in those flashbacks, it's Darla. This broke with previous Ricean and Forever Knight models and for that reason made the whole backstory feel far more original and intriguing to me. (Incidentally, no, I don't think Joss & Co. had it all figured out back when they introduced Spike and Dru in School Hard; it's something that obviously developed in the telling. But I'm talking about the result.) Mind you, fanfic-wise, this meant Darla spent a time being written as ravingly jealous because Angelus was really much more into Spike, but this seems to have subsided and at any rate looked increasingly ridiculous when compared with canon flashbacks wherein the only one throwing a jealous fit is Angelus, over the Immortal. At the same occasion, it's spelled out even to whose who chose to regard Reunion dynamics as platonic that Darla and Drusilla had their own thing going sexually, and that they were the ones who gave the boys permission, or not.

"Boys" is a term Darla uses in the coal mine flashback in Fool for Love when talking to Dru, as in the gleeful "I think our boys are going to fight", anticipating the show as much as any ole' slasher does, and it brings me to why I wasn't the least upset about the Dru-as-Spike's sire retcon/revelation (depending on how you interpret Spike's famous "you were my sire, man, you were my Yoda!" outburst in School Hard). Drusilla siring Spike after being told to make herself a playmate by Angelus and Darla, and the way she presents her new creation in Destiny ("Look what I've made! It's called Willy!" and "Where is Darla? I want Darla to see William!") is about as far from the Lestat/Louis/Claudia or LaCroix/Nicholas/Janette model as it gets. Doesn't mean the slashiness in the Angel(us)/Spike dynamic is lost (the same flashback in Destiny oozes of it, with Angelus' little "does that make me a deviant?" speech), but Drusilla isn't the passive female pulled in two directions by the men here; like Darla, she's the creator who made herself a boytoy. Both male vampires become more than that to the female vampires, of course, but that was the original intention.

The act of creation, of couse, when performed by a woman is coded as maternal and that, I would guess, makes the dynamic more disquieting to a sizable portion of the fandom than the same thing performed by a man. Or to viewers in general. As a journalist once pointed out, Marilyn Monroe singing "My heart belongs to Daddy" is regarded as the traditional epitome of sexiness; but can one imagine a male sex idol breathing "my heart belongs to Mommy" into the microphone without the audience getting squicked instead of thrilled? The Fanged Four as presented on screen sure challenge that. Because say what you want about Angelus and Spike, their hearts sure belong to Mommy. "I'm your son's other mother," says Drusilla to Anne in Lies My Parents Told Me, in case we've missed it so far, and Darla's last "my darling boy", spoken when Angel has his hand on her pregnant belly, could mean either the unborn Connor or Angel himself. And you don't have to go to the end of their relationship; "you made me," Angel insists both when she throws him out immediately after the souling in the Five by Five flashbacks and in the Darla flashback in China where she temporarily takes him back. "I gave you eternal life," Darla says to Angel when she wants to persuade him to turn into a vampire again, and "she delivered me (from mediocrity)," says Spike about Drusilla in Crush, when he replaces her with another powerful female figure to obsess about and be dependent on. In a genre where it's traditionally all about sons and fathers - or brothers, for that matter - I find this coding of the sire/fledgling as female/male instead of male/male or male/female, this focus on a family dynamic that doesn't provide agreeable and familiar frisson but genuinely challenges assumptions immensely captivating.

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