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selenak: (Londo and Vir by Ruuger)
First world problems: no Good Wife or Agent Carter yet for me (come through, Itunes, come through!). Also Darth Real Life keeps me really busy these days. Still, I have had an unexpected attack of Vir (from Babylon 5) feelings. He really is one of the most endearing characters ever, and one of the few where the balance between loyalty/friendship and individual conscience works just perfectly for me. Vir's affection for Londo at no point means he accepts Londo's rationalizations for wrongness. And he doesn't just have scruples, he does something about this (as in: actively helping, see Abramo Lincolni). Conversely, he never gives up on Londo, and imo that's a big part of why many a viewer doesn't, either. And lastly, the fact that it's Vir who makes Londo finally turn around and face himself/his deeds/G'Kar in The Very Long Night of Londo Mollari is possibly my favourite part in my favourite dream episode: "I'd miss you." "And I suppose I would miss you", and he turns around; still one of my favourite examples of two characters saying "I love you" without using these words.

In another fandom entirely: Neat article by Russell T. Davies and Aidan Gillen on the creation of QUEER AS FOLK.
selenak: (Darla by Kathyh)
You know how every now and then the mainstream media "discovers" fanfiction, slash, tropes or whatever fandom at large has discussed and been familiar with since decades? Today's guardian decided to do an article on sexposition.

In which, wait for it, we get this priceless observation:

Let's take arguably the definitive piece of Games of Thrones sexposition, in which the Machiavellian palace fixer Littlefinger engages in a long soliloquy, interrupting himself occasionally to offer direction to the pair of prostitutes whom he is instructing in the art of putting on a lesbian sex show. Classy. But actually, as McNutt explains, it's an example of how sexposition can work to inform us about a character, too. "The Littlefinger sequence is an interesting one in that it has clear thematic implications on his view of power, on the idea of Littlefinger as the prostitute [of the government], always able to convince others that they are in control when it's really a charade."



Great Maker, as my beloved Londo Mollari would say. That scene in Game of Thrones is probably the worst and most ooc example of sexposition in the entire show. I mean, I'm not a fan of either the books or the tv show (read the books, except for the last one, watched the tv show's first season), I'm solely somewhat entertained by either, and thus not prone to get passionate on behalf of characters. But seriously, even someone like yours truly who only read the books once and has no intention of doing so again does renember Littlefinger is the least likely guy to solliloquize his motivations like this, and let's not even go into how two whores who have been in the business since eons really, really don't need instructions on how to put on a show. It was clumsy writing, and I squirmed for all the actors involved.

Which isn't to say you can't actually combine sex scenes and information in a way that doesn't scream "we're doing this for the ratings" from the rootops. Homeland gets namechecked in the article, but what is not mentioned is that the scenes there actually do contain important information about the characters that can't be conveyed in another way. When the pilot early on showed us Moreena Baccharin's character having enthusiastic sex with her lover, I rolled my eyes and thought, yeah, yeah, Showtime, but before long I withdrew my objection completely. The reasons being spoilery. )

Going back in tv history somewhat: the opening episode of the original, British Queer as Folk contains an explicit m/m scene. In which there's definitely exposition, not least because the audience is informed along with character Nathan (15 years and determined not to remain a virgin any longer) what rimming is. (Thank you, Russell T. Davies. This scene was useful to many a slash writer.) It also provides character information about two of the show's three main characters (one of whom is played by the same actor who plays Littlefinger, Aidan Gillen), and since it's important for the audience to know that Stuart Alan Jones actually lives up to his reputation and is that good at sex, it's important to convey this in a show, not tell manner.

(And then there's the scene a few eps later where Vince Tyler has sex while watching Doctor Who. Which probably says something about Rusty as well about Vince, but hey. Without that scene, would Stuart declaring his love via naming every single actor who played the Doctor in the season finale - Classic Who Doctors only, since this was shot before RTD resurrected the show - be half as poignant?)

In conclusion: There's sexposition and sexposition. And if you single out the godawful Littlefinger & whores scene for being a good example, you clearly haven't watched enough of it.
selenak: (Heroes in Munich by Kathyh)
Having watched Queer As Folk (the original UK version, that is, not the US remake), these days also known as The Other Famous Cult Show Russel T. Davies Wrote, I was entertained and couldn't help but conclude the following:

- RTD really likes the name "Tyler" as a surname
- but not as much as he likes the constellation of "dependable kind person in unrequited love with charismatic guy also fancied by the rest of the
universe, whose sidekick dependable kind person is, charismatic guy is seemingly oblivious to when he hurts dependable kind person's feelings"
- and he loves Doctor Who even better than that.

Seriously. When Vince watched a Fourth Doctor episode in the pilot, I was just amused; when it got really hardcore later, complete with Genesis of the Daleks instead of sex, a K-9 model as the birthday present to top all other birthday presents and the ability to name all actors who ever played the Doctor as the ultimate test of true love, I wondered whether this was an early sneaky attempt to get the BBC to revive the show and make Rusty the headwriter, but then I checked the date, and Queer as Folk is from 1999 (New Who started in 2005), so no, it must have been pure fanboy devotion. Then I listened to the audio commentary for the final episode (which was recorded in 2003), in which Aidan Gillen and Craig Kelly (who play Stuart and Vince) say they wouldn't be able to name the Doctors anymore and RTD says that of course he can. Bless.

Of course, if you have a show in which all three main characters are white gay men, then you don't have to worry about the fact Charismatic Guy might love Dependable Kind Person but doesn't LOVE DKP in the same way DKP loves him, or does things like looking at someone else longingly right in front of DKP, could be read as either having a subtext that favours heterosexual romance over gay romance, or a subtext that discriminates against women, or a subtext that discriminates racially.

ETA for clarification due to a question: In other words: Vince loving his best friend Stuart unrequitedly (as far as a sexual relationship is concerned) while Stuart has sex with everyone BUT Vince and isn't above exploiting him occasionally is perceived differently than either Jack-Ianto-Gwen or Doctor-Martha. Presumably this has something to do with all participants (including potential rival Nathan) being of the same race and gender, because the emotional structure is remarkably similar, if not the same.

Also of possible interest in the eternal debate on how oblivious or not Our Russel is to minorities other than the one he belongs to: when recently outed Nathan gets into a teenage rant at his (black and female) best friend about her belonging to the "heterosexual fascist majority", she pwns him by saying "I'm black, and I'm a girl; try that for a day". Exit Nathan, silent and stunned.

***

Of interest for fanfiction writes in all fandoms: [livejournal.com profile] penknife wrote great meta: On letting the characters you love be wrong. Because that's one of the hardest things to achieve, and few fanfic writers manage it.

Speaking of fanfiction, two links:

Heroes:

Ordinary Boy: futurefic, in which Lyle along with Claire (and Mr. Muggles!) ends up living with the Petrellis. Lyle's pov on the craziness that is Petrelli family interaction is simultanously wry, funny and touching, and the relationship between him and Claire (the only non-dysfunctional siblings in the Heroesverse, they!) is wonderfully drawn.

Blake's 7:

Things That Happen In The Dark: Blake and Avon in the first season. Gen, with slashy subtext. You know, just like the show. *g*

Doctor Who:

Pockets: a great Donna pov, and through her an indirect portrait of the Doctor. Short but perfect.

Torchwood:

Waiting For A Dream: Martha and Owen during A Day in the Death. As the episode itself, dark and intense.

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