Emmys

Sep. 19th, 2011 08:58 am
shipperx: (Default)
Well, the program was terrible (and dumb), but many of the winners were good.  Yay, Dinklage.  Yay, Katims.  Yah, Chandler. Yay, Maggie Smith.  Yay, Downton Abbey.

ETA: And WTF did they do to David Boreanaz's hair?  I mean, bad enough to have that ridiculous hair cut, but to wear it in PUBLIC?!   Holy cow, if Angel wore his hair like that, Spike would never let him hear the end of it.  Ever.  Yick!
http://justjared.buzznet.com/photo-gallery/2581741/anna-torv-david-boreanz-emmys-02/

Emmys

Sep. 19th, 2011 08:58 am
shipperx: (Default)
Well, the program was terrible (and dumb), but many of the winners were good.  Yay, Dinklage.  Yay, Katims.  Yah, Chandler. Yay, Maggie Smith.  Yay, Downton Abbey.

ETA: And WTF did they do to David Boreanaz's hair?  I mean, bad enough to have that ridiculous hair cut, but to wear it in PUBLIC?!   Holy cow, if Angel wore his hair like that, Spike would never let him hear the end of it.  Ever.  Yick!
http://justjared.buzznet.com/photo-gallery/2581741/anna-torv-david-boreanz-emmys-02/

Emmys

Sep. 19th, 2011 08:58 am
shipperx: (Default)
Well, the program was terrible (and dumb), but many of the winners were good.  Yay, Dinklage.  Yay, Katims.  Yah, Chandler. Yay, Maggie Smith.  Yay, Downton Abbey.

ETA: And WTF did they do to David Boreanaz's hair?  I mean, bad enough to have that ridiculous hair cut, but to wear it in PUBLIC?!   Holy cow, if Angel wore his hair like that, Spike would never let him hear the end of it.  Ever.  Yick!
http://justjared.buzznet.com/photo-gallery/2581741/anna-torv-david-boreanz-emmys-02/
shipperx: (Default)

I'm not sure what it is that make certain storylines 'work' for me, why they're something that intrigues me and makes me want to think and talk about them.  At any rate the three that interest me most at the moment (in no particular order).



Being Human

I'm really enjoying this plot.  It's chewy.  Those who watched last season know that Mitchell did something horrible.  I've really enjoyed how they have not let that slide, and how they have used that to reinforce their metaphors. 

Being Human has always had that underlying subtext that vampirism is addiction (and far more clearly than BtVS/AtS ever did, because, honestly, I don't think BtVS/AtS ever did work that way... beyond lip service.  AtS might say that it was a metaphor for addiction, but it was never shown in a convincing light.  There might be 'falling off the wagon'- like  dialog occasionally, but there weren't cravings, etc. 

BtVS worked on the concept of demons representing Buffy's 'demons' (her inner demons, demons she had to face) and Angel and Spike were created and born in that context.  Angel and Spike's journeys weren't their own until further down the line.  And, quite frankly, there's always been something almost  Calvanist in the Whedonverse with all it's dependence on the Chosen/Elect and the damned (and everyone else) ...with the occasional boon given to free will. 

Vampirism in the Whedonverse always seemed to be far more about those concepts to me (and even some odd parallel to the concept of Original Sin).  Vampirism in BtVS/AtS is a curse, an edict, or a judgement.  It was more about falling prey to ones demons or subsuming (or  Spike/Angel case an effort at) overcoming some  'fate' and  fixed destiny.  Whedonverse vampirism was completely bound up in the concept of souls and curses and whether or not vampires had any choice but evil.  Were they even allowed to have free will?  {Go team Spike free will!} Basically, in the Whedonverse it always seemed to me to be more of a dialog about the struggle of free will versus a somewhat Calvanist doctrine of fate, destiny, and inevitability, thus the emphasis on souls, being "Chosen", prophecy, etc.... which was always amusing to me because Whedon is an atheist). 

Being Human's vampirism is very, very much a metaphor for addiction.  The rationalization, the backsliding, the struggle.  It's so easy to see Mitchell as some heroine addict and all that would entail.  He fits far too well the sort of thing you see when you watch "Intervention" on A&E (as well as the problems of a drug addict that grew up down the street from me who was a nice guy when sober and yet could never overcome addiction and who in the end became a very real-life monster before his suicide).   The aftermath of last year's story is being played out with this years and we see the way that Mitchell explains and avoids those things and how that is all very much a part of not only who he is but who he has always been and how that has very much informed his whole vampiric existence.  And the story has worked very much in Annie's metaphor as well.  Annie, the ghost.  Annie who denied to herself that she was in an abusive relationship, painting a happy face on it, eplaining it away, even as it killed her, leaving her trapped in that place.  She was a victim, invisible to many and unable to actualize herself.  She has a history of falling into destructive relationships, of living vicariously through others, being the kind of 'giver' that doesn't understand that she needs to stand up for herself.  Ah Mitchell/Annie your weaknesses were bound to...er... bind you.   I've liked the way this story has gone and the way it's been quite subversive about its vampire romance trope.



Big Love  

Yeah, last season was teh crazy, and this season is much the same.  However, I really enjoy just how freaking screwed up these people are. (I've even gotten my mom into loving this show.  Bill Hendrickson amuses the hell out of her).  Bill is such a self-serving douche.  He really, really is. Oh, he's so goooooood.  So righteous.  He goes on and on about serving God and begging God "why are you testing me so?" while he is so, so, so oblivious that he's a douchebag!  Dude, it's not "God" directing you to do a host of self-serving things.  It's your collosal, oversized ego!  Oh, and your penis!  "God" doesn't tell him to pick fights with wacked out cult leader Alby.  'God" didn't tell Bill to build a casino.  "God" didn't tell him to run for the Utah State Senate.  Nope.  That was all  Bill.  He totally overlooks what he inflicts on the people around him with what he does, especially his cult-o-sister-wives and for his long suffering business partner.  How much shit has he made them all take and eat?  Because he thinks he's their 'priesthood holder.'  Bill is a piece of work.  So 'good', so 'righteous' ...such a self-serving douche. 

And I've really enjoyed all the massively screwed-up sister-wives and their own dysfunctions that have led them into this life with Bill. Read more... )All these people are so very, very screwed up (and so very righteous and 'godly' about it.  "God" tells them to do all these things. 'God' really really wants them to be rich and powerful and smite all their enemies too.  And when things don't work it's because 'God' is testing their faith so they double down) . I can't help it.  It's a trainwreck that I cannot help but watch.



Fringe
Mmm.  Yummy sci-fi that hits so many kinks. 

I love Olivia as a heroine.  She's smart, competent, brave, and she tries so very, very hard.  And, her life has been such shit.  Her mother died.  Her step-father abused her.  She was used as a medical guinea pig in shocking horrific medical experiments as a kid that damaged her in ways she can't really explain but which also gave her and eidetic memory and the ability to walk between parallel universes. She has such a difficult, difficult time forming relationships, but her heart does love deeply.  And things just never quite seem to work out for her.  Yet she tries so hard to be fair and adult about it.  She breaks my heart.  I want her to be happy, damnit!  (It hurt seeing her happy last night.  It's so rare to see her happy, and we the audience know... something... is going to come down on her like  a ton of bricks soon.  So, even as she's glowing with new found happiness, I'm going "Poor Olivia"...)

And I thought that EW's Ken Tucker did a great job of explaining the show:
 

At its big, red, throbbing heart, the show tells the story of a love so powerful, it crosses universes: When Peter was seven, he died. His brilliant-scientist father, Walter, having discovered that there was a parallel universe containing doubles of everyone here, transported himself to that Other Side and brought back that universe’s Peter, to love and to cherish. In doing so, he created not just a rift in the universes (which are now dangerously, explosively out of balance), but also a rift between father and son (when Peter discovered who he really was, and grappled with the idea that he belonged to another Walter, a “Walternate”).


You've got your tortured redemption arc with Walter, the mad scientist who did such horrible things in the past in his pursuit of 'science', horrible things to Olivia (one of his test subjects) and to Peter (in an effort to 'keep' what wasn't his) and to all his other test subjects.  He has the oppressive, overwhelming knowledge that he may well have destroyed not one but two worlds and has caused untold suffering, and all he wants is to make things right.  To see Peter and Olivia happy and to prevent the apocalypse... that he caused.

And you've got that Olivia/Peter thing that  is oh-so-starcrossed... and on a ticking time clock of an apocalypse where their relationship is pivotal.. and which may require Peter's death.   This year so many of the episodes are clues to what is important to the mytharc (even if they're MOTW) or metaphors for the dynamics of the entwined relationships of Olivia/Peter/Walter... as well as things concerning the alternative_universe dopplegangers of both themselves and their friends.  

Throw in some zeplins, an intact World Trade Center, an alternative-history (MLK asn't assassinated, Nixon was never impeached, Kennedy is still alive.  An Alternative Olivia, an Alternative_Walter, an Alternative_Fringe {but no FBI...})  in the same but subtly different alternative universe, and pop me some popcorn while I sit in front of a television because I'm a sucker for this stuff.
shipperx: (Default)

I'm not sure what it is that make certain storylines 'work' for me, why they're something that intrigues me and makes me want to think and talk about them.  At any rate the three that interest me most at the moment (in no particular order).



Being Human

I'm really enjoying this plot.  It's chewy.  Those who watched last season know that Mitchell did something horrible.  I've really enjoyed how they have not let that slide, and how they have used that to reinforce their metaphors. 

Being Human has always had that underlying subtext that vampirism is addiction (and far more clearly than BtVS/AtS ever did, because, honestly, I don't think BtVS/AtS ever did work that way... beyond lip service.  AtS might say that it was a metaphor for addiction, but it was never shown in a convincing light.  There might be 'falling off the wagon'- like  dialog occasionally, but there weren't cravings, etc. 

BtVS worked on the concept of demons representing Buffy's 'demons' (her inner demons, demons she had to face) and Angel and Spike were created and born in that context.  Angel and Spike's journeys weren't their own until further down the line.  And, quite frankly, there's always been something almost  Calvanist in the Whedonverse with all it's dependence on the Chosen/Elect and the damned (and everyone else) ...with the occasional boon given to free will. 

Vampirism in the Whedonverse always seemed to be far more about those concepts to me (and even some odd parallel to the concept of Original Sin).  Vampirism in BtVS/AtS is a curse, an edict, or a judgement.  It was more about falling prey to ones demons or subsuming (or  Spike/Angel case an effort at) overcoming some  'fate' and  fixed destiny.  Whedonverse vampirism was completely bound up in the concept of souls and curses and whether or not vampires had any choice but evil.  Were they even allowed to have free will?  {Go team Spike free will!} Basically, in the Whedonverse it always seemed to me to be more of a dialog about the struggle of free will versus a somewhat Calvanist doctrine of fate, destiny, and inevitability, thus the emphasis on souls, being "Chosen", prophecy, etc.... which was always amusing to me because Whedon is an atheist). 

Being Human's vampirism is very, very much a metaphor for addiction.  The rationalization, the backsliding, the struggle.  It's so easy to see Mitchell as some heroine addict and all that would entail.  He fits far too well the sort of thing you see when you watch "Intervention" on A&E (as well as the problems of a drug addict that grew up down the street from me who was a nice guy when sober and yet could never overcome addiction and who in the end became a very real-life monster before his suicide).   The aftermath of last year's story is being played out with this years and we see the way that Mitchell explains and avoids those things and how that is all very much a part of not only who he is but who he has always been and how that has very much informed his whole vampiric existence.  And the story has worked very much in Annie's metaphor as well.  Annie, the ghost.  Annie who denied to herself that she was in an abusive relationship, painting a happy face on it, eplaining it away, even as it killed her, leaving her trapped in that place.  She was a victim, invisible to many and unable to actualize herself.  She has a history of falling into destructive relationships, of living vicariously through others, being the kind of 'giver' that doesn't understand that she needs to stand up for herself.  Ah Mitchell/Annie your weaknesses were bound to...er... bind you.   I've liked the way this story has gone and the way it's been quite subversive about its vampire romance trope.



Big Love  

Yeah, last season was teh crazy, and this season is much the same.  However, I really enjoy just how freaking screwed up these people are. (I've even gotten my mom into loving this show.  Bill Hendrickson amuses the hell out of her).  Bill is such a self-serving douche.  He really, really is. Oh, he's so goooooood.  So righteous.  He goes on and on about serving God and begging God "why are you testing me so?" while he is so, so, so oblivious that he's a douchebag!  Dude, it's not "God" directing you to do a host of self-serving things.  It's your collosal, oversized ego!  Oh, and your penis!  "God" doesn't tell him to pick fights with wacked out cult leader Alby.  'God" didn't tell Bill to build a casino.  "God" didn't tell him to run for the Utah State Senate.  Nope.  That was all  Bill.  He totally overlooks what he inflicts on the people around him with what he does, especially his cult-o-sister-wives and for his long suffering business partner.  How much shit has he made them all take and eat?  Because he thinks he's their 'priesthood holder.'  Bill is a piece of work.  So 'good', so 'righteous' ...such a self-serving douche. 

And I've really enjoyed all the massively screwed-up sister-wives and their own dysfunctions that have led them into this life with Bill. Read more... )All these people are so very, very screwed up (and so very righteous and 'godly' about it.  "God" tells them to do all these things. 'God' really really wants them to be rich and powerful and smite all their enemies too.  And when things don't work it's because 'God' is testing their faith so they double down) . I can't help it.  It's a trainwreck that I cannot help but watch.



Fringe
Mmm.  Yummy sci-fi that hits so many kinks. 

I love Olivia as a heroine.  She's smart, competent, brave, and she tries so very, very hard.  And, her life has been such shit.  Her mother died.  Her step-father abused her.  She was used as a medical guinea pig in shocking horrific medical experiments as a kid that damaged her in ways she can't really explain but which also gave her and eidetic memory and the ability to walk between parallel universes. She has such a difficult, difficult time forming relationships, but her heart does love deeply.  And things just never quite seem to work out for her.  Yet she tries so hard to be fair and adult about it.  She breaks my heart.  I want her to be happy, damnit!  (It hurt seeing her happy last night.  It's so rare to see her happy, and we the audience know... something... is going to come down on her like  a ton of bricks soon.  So, even as she's glowing with new found happiness, I'm going "Poor Olivia"...)

And I thought that EW's Ken Tucker did a great job of explaining the show:
 

At its big, red, throbbing heart, the show tells the story of a love so powerful, it crosses universes: When Peter was seven, he died. His brilliant-scientist father, Walter, having discovered that there was a parallel universe containing doubles of everyone here, transported himself to that Other Side and brought back that universe’s Peter, to love and to cherish. In doing so, he created not just a rift in the universes (which are now dangerously, explosively out of balance), but also a rift between father and son (when Peter discovered who he really was, and grappled with the idea that he belonged to another Walter, a “Walternate”).


You've got your tortured redemption arc with Walter, the mad scientist who did such horrible things in the past in his pursuit of 'science', horrible things to Olivia (one of his test subjects) and to Peter (in an effort to 'keep' what wasn't his) and to all his other test subjects.  He has the oppressive, overwhelming knowledge that he may well have destroyed not one but two worlds and has caused untold suffering, and all he wants is to make things right.  To see Peter and Olivia happy and to prevent the apocalypse... that he caused.

And you've got that Olivia/Peter thing that  is oh-so-starcrossed... and on a ticking time clock of an apocalypse where their relationship is pivotal.. and which may require Peter's death.   This year so many of the episodes are clues to what is important to the mytharc (even if they're MOTW) or metaphors for the dynamics of the entwined relationships of Olivia/Peter/Walter... as well as things concerning the alternative_universe dopplegangers of both themselves and their friends.  

Throw in some zeplins, an intact World Trade Center, an alternative-history (MLK asn't assassinated, Nixon was never impeached, Kennedy is still alive.  An Alternative Olivia, an Alternative_Walter, an Alternative_Fringe {but no FBI...})  in the same but subtly different alternative universe, and pop me some popcorn while I sit in front of a television because I'm a sucker for this stuff.
shipperx: (Default)

I'm not sure what it is that make certain storylines 'work' for me, why they're something that intrigues me and makes me want to think and talk about them.  At any rate the three that interest me most at the moment (in no particular order).



Being Human

I'm really enjoying this plot.  It's chewy.  Those who watched last season know that Mitchell did something horrible.  I've really enjoyed how they have not let that slide, and how they have used that to reinforce their metaphors. 

Being Human has always had that underlying subtext that vampirism is addiction (and far more clearly than BtVS/AtS ever did, because, honestly, I don't think BtVS/AtS ever did work that way... beyond lip service.  AtS might say that it was a metaphor for addiction, but it was never shown in a convincing light.  There might be 'falling off the wagon'- like  dialog occasionally, but there weren't cravings, etc. 

BtVS worked on the concept of demons representing Buffy's 'demons' (her inner demons, demons she had to face) and Angel and Spike were created and born in that context.  Angel and Spike's journeys weren't their own until further down the line.  And, quite frankly, there's always been something almost  Calvanist in the Whedonverse with all it's dependence on the Chosen/Elect and the damned (and everyone else) ...with the occasional boon given to free will. 

Vampirism in the Whedonverse always seemed to be far more about those concepts to me (and even some odd parallel to the concept of Original Sin).  Vampirism in BtVS/AtS is a curse, an edict, or a judgement.  It was more about falling prey to ones demons or subsuming (or  Spike/Angel case an effort at) overcoming some  'fate' and  fixed destiny.  Whedonverse vampirism was completely bound up in the concept of souls and curses and whether or not vampires had any choice but evil.  Were they even allowed to have free will?  {Go team Spike free will!} Basically, in the Whedonverse it always seemed to me to be more of a dialog about the struggle of free will versus a somewhat Calvanist doctrine of fate, destiny, and inevitability, thus the emphasis on souls, being "Chosen", prophecy, etc.... which was always amusing to me because Whedon is an atheist). 

Being Human's vampirism is very, very much a metaphor for addiction.  The rationalization, the backsliding, the struggle.  It's so easy to see Mitchell as some heroine addict and all that would entail.  He fits far too well the sort of thing you see when you watch "Intervention" on A&E (as well as the problems of a drug addict that grew up down the street from me who was a nice guy when sober and yet could never overcome addiction and who in the end became a very real-life monster before his suicide).   The aftermath of last year's story is being played out with this years and we see the way that Mitchell explains and avoids those things and how that is all very much a part of not only who he is but who he has always been and how that has very much informed his whole vampiric existence.  And the story has worked very much in Annie's metaphor as well.  Annie, the ghost.  Annie who denied to herself that she was in an abusive relationship, painting a happy face on it, eplaining it away, even as it killed her, leaving her trapped in that place.  She was a victim, invisible to many and unable to actualize herself.  She has a history of falling into destructive relationships, of living vicariously through others, being the kind of 'giver' that doesn't understand that she needs to stand up for herself.  Ah Mitchell/Annie your weaknesses were bound to...er... bind you.   I've liked the way this story has gone and the way it's been quite subversive about its vampire romance trope.



Big Love  

Yeah, last season was teh crazy, and this season is much the same.  However, I really enjoy just how freaking screwed up these people are. (I've even gotten my mom into loving this show.  Bill Hendrickson amuses the hell out of her).  Bill is such a self-serving douche.  He really, really is. Oh, he's so goooooood.  So righteous.  He goes on and on about serving God and begging God "why are you testing me so?" while he is so, so, so oblivious that he's a douchebag!  Dude, it's not "God" directing you to do a host of self-serving things.  It's your collosal, oversized ego!  Oh, and your penis!  "God" doesn't tell him to pick fights with wacked out cult leader Alby.  'God" didn't tell Bill to build a casino.  "God" didn't tell him to run for the Utah State Senate.  Nope.  That was all  Bill.  He totally overlooks what he inflicts on the people around him with what he does, especially his cult-o-sister-wives and for his long suffering business partner.  How much shit has he made them all take and eat?  Because he thinks he's their 'priesthood holder.'  Bill is a piece of work.  So 'good', so 'righteous' ...such a self-serving douche. 

And I've really enjoyed all the massively screwed-up sister-wives and their own dysfunctions that have led them into this life with Bill. Read more... )All these people are so very, very screwed up (and so very righteous and 'godly' about it.  "God" tells them to do all these things. 'God' really really wants them to be rich and powerful and smite all their enemies too.  And when things don't work it's because 'God' is testing their faith so they double down) . I can't help it.  It's a trainwreck that I cannot help but watch.



Fringe
Mmm.  Yummy sci-fi that hits so many kinks. 

I love Olivia as a heroine.  She's smart, competent, brave, and she tries so very, very hard.  And, her life has been such shit.  Her mother died.  Her step-father abused her.  She was used as a medical guinea pig in shocking horrific medical experiments as a kid that damaged her in ways she can't really explain but which also gave her and eidetic memory and the ability to walk between parallel universes. She has such a difficult, difficult time forming relationships, but her heart does love deeply.  And things just never quite seem to work out for her.  Yet she tries so hard to be fair and adult about it.  She breaks my heart.  I want her to be happy, damnit!  (It hurt seeing her happy last night.  It's so rare to see her happy, and we the audience know... something... is going to come down on her like  a ton of bricks soon.  So, even as she's glowing with new found happiness, I'm going "Poor Olivia"...)

And I thought that EW's Ken Tucker did a great job of explaining the show:
 

At its big, red, throbbing heart, the show tells the story of a love so powerful, it crosses universes: When Peter was seven, he died. His brilliant-scientist father, Walter, having discovered that there was a parallel universe containing doubles of everyone here, transported himself to that Other Side and brought back that universe’s Peter, to love and to cherish. In doing so, he created not just a rift in the universes (which are now dangerously, explosively out of balance), but also a rift between father and son (when Peter discovered who he really was, and grappled with the idea that he belonged to another Walter, a “Walternate”).


You've got your tortured redemption arc with Walter, the mad scientist who did such horrible things in the past in his pursuit of 'science', horrible things to Olivia (one of his test subjects) and to Peter (in an effort to 'keep' what wasn't his) and to all his other test subjects.  He has the oppressive, overwhelming knowledge that he may well have destroyed not one but two worlds and has caused untold suffering, and all he wants is to make things right.  To see Peter and Olivia happy and to prevent the apocalypse... that he caused.

And you've got that Olivia/Peter thing that  is oh-so-starcrossed... and on a ticking time clock of an apocalypse where their relationship is pivotal.. and which may require Peter's death.   This year so many of the episodes are clues to what is important to the mytharc (even if they're MOTW) or metaphors for the dynamics of the entwined relationships of Olivia/Peter/Walter... as well as things concerning the alternative_universe dopplegangers of both themselves and their friends.  

Throw in some zeplins, an intact World Trade Center, an alternative-history (MLK asn't assassinated, Nixon was never impeached, Kennedy is still alive.  An Alternative Olivia, an Alternative_Walter, an Alternative_Fringe {but no FBI...})  in the same but subtly different alternative universe, and pop me some popcorn while I sit in front of a television because I'm a sucker for this stuff.

Vid Post

Mar. 17th, 2010 09:58 pm
shipperx: (Being Human Trio)
Vidpost of things that made me squee. (I don't vid. These are others vids off Youtube).

Comic!Wank has made it easy to forget what made Spuffy compelling. So here:


And if Twangel makes you go "Who the Hell is This?" Angel in his own show


And Season 2 Being Human was awesome!


And since I saw a post regarding it today. Farscape was awesome too.


And Aeryn Sun one of the best heroines to date!

Vid Post

Mar. 17th, 2010 09:58 pm
shipperx: (Being Human Trio)
Vidpost of things that made me squee. (I don't vid. These are others vids off Youtube).

Comic!Wank has made it easy to forget what made Spuffy compelling. So here:


And if Twangel makes you go "Who the Hell is This?" Angel in his own show


And Season 2 Being Human was awesome!


And since I saw a post regarding it today. Farscape was awesome too.


And Aeryn Sun one of the best heroines to date!

Vid Post

Mar. 17th, 2010 09:58 pm
shipperx: (Being Human Trio)
Vidpost of things that made me squee. (I don't vid. These are others vids off Youtube).

Comic!Wank has made it easy to forget what made Spuffy compelling. So here:


And if Twangel makes you go "Who the Hell is This?" Angel in his own show


And Season 2 Being Human was awesome!


And since I saw a post regarding it today. Farscape was awesome too.


And Aeryn Sun one of the best heroines to date!
shipperx: (Spangel - Soul Men)
It's a question that came up for me when working on my WIP. I even went back and re-watched "You're Welcome" to see whether I had forgotten something, but the answer isn't in "You're Welcome."

Exactly why was Lindsey doing what he was doing in Season 5 AtS? In "You're Welcome"s big Angel/Lindsey fight scene he says he was pissed that Angel was handed everything that Lindsey had worked for... except... huh?

In the evil hand episode, Lindsey was given the job of head of the L.A. Branch. He turned it down and said to give it to Lilah instead.

So he's back in AtS 5 pissed because... Angel got the job? Huh?

I know that Lindsey long had a chip on his shoulder regarding Angel. And I know that there was also the issue of Darla (not that it was mentioned in AtS 5). But it just feels to me that Lindsey's motives and goal weren't well developed or identified in AtS 5.

This isn't really an issue in my WIP, other than it might be nice to know. Angel doesn't even appear in this story, and I know what Lindsey's motivation is within the context of my own story. But it does have me pondering Lindsey's Season 5 purpose. He went to a lot of trouble (including resurrecting Spike). But why and what he hoped to gain wasn't particularly well defined... at least from what I remember... and other than 'to piss off Angel.'

Am I forgetting something?
shipperx: (Spangel - Soul Men)
It's a question that came up for me when working on my WIP. I even went back and re-watched "You're Welcome" to see whether I had forgotten something, but the answer isn't in "You're Welcome."

Exactly why was Lindsey doing what he was doing in Season 5 AtS? In "You're Welcome"s big Angel/Lindsey fight scene he says he was pissed that Angel was handed everything that Lindsey had worked for... except... huh?

In the evil hand episode, Lindsey was given the job of head of the L.A. Branch. He turned it down and said to give it to Lilah instead.

So he's back in AtS 5 pissed because... Angel got the job? Huh?

I know that Lindsey long had a chip on his shoulder regarding Angel. And I know that there was also the issue of Darla (not that it was mentioned in AtS 5). But it just feels to me that Lindsey's motives and goal weren't well developed or identified in AtS 5.

This isn't really an issue in my WIP, other than it might be nice to know. Angel doesn't even appear in this story, and I know what Lindsey's motivation is within the context of my own story. But it does have me pondering Lindsey's Season 5 purpose. He went to a lot of trouble (including resurrecting Spike). But why and what he hoped to gain wasn't particularly well defined... at least from what I remember... and other than 'to piss off Angel.'

Am I forgetting something?
shipperx: (Spangel - Soul Men)
It's a question that came up for me when working on my WIP. I even went back and re-watched "You're Welcome" to see whether I had forgotten something, but the answer isn't in "You're Welcome."

Exactly why was Lindsey doing what he was doing in Season 5 AtS? In "You're Welcome"s big Angel/Lindsey fight scene he says he was pissed that Angel was handed everything that Lindsey had worked for... except... huh?

In the evil hand episode, Lindsey was given the job of head of the L.A. Branch. He turned it down and said to give it to Lilah instead.

So he's back in AtS 5 pissed because... Angel got the job? Huh?

I know that Lindsey long had a chip on his shoulder regarding Angel. And I know that there was also the issue of Darla (not that it was mentioned in AtS 5). But it just feels to me that Lindsey's motives and goal weren't well developed or identified in AtS 5.

This isn't really an issue in my WIP, other than it might be nice to know. Angel doesn't even appear in this story, and I know what Lindsey's motivation is within the context of my own story. But it does have me pondering Lindsey's Season 5 purpose. He went to a lot of trouble (including resurrecting Spike). But why and what he hoped to gain wasn't particularly well defined... at least from what I remember... and other than 'to piss off Angel.'

Am I forgetting something?
shipperx: (Fanfic: Disturbing)
Okay, have read about the current issue and Allie wankage du jour.

Re: the state of the Whedonverse, let me quote AtS's Gunn:

"Don't tell us there's no where to go but up because the truth is there's always more down."

::Reads quote::

Nods. Sums up the comics nicely.
shipperx: (Lost: Prettiest)
Old ship wars never die, they just repeat themselves. Endlessly. And in entirely new reiterations (which isn't as much of an oxymoron as you'd think!)

Who knows why we ship certain fictional couples. It has a lot to do with what entertains us, what intrigues us, what we think is hot, what we think could be interesting, what... Actually there are a lot of possible whats. It doesn't really matter what fic kink is the root of our attraction. Everyone is allowed theirs.

Not everyone feels the same way about these things. That's life... and love. It's only when people start to be judgmental about it that ship wars break out. Now, I admit there have been some fics that make me scratch my head and wonder "what the freaking hell?" And there have even been a few fics that make me want to reach for brain bleach to erase the memory of them (one particularly -- epically -- bizarre Supernatural fic I ran into once falls into that category.) But, you know, since they weren't my thing, I didn't spend a whole heck of a lot of time complaining about them or complaining about the way others spent their free time writing fic about stuff that doesn't happen to interest me. It only needed to interest them to be sufficient reason for the creation of fanfic.

There have been/are some fairly popular ships in many fandoms that I don't 'get.' I remember back in my X-Files fandom days, Krycek/Mulder was a hugely popular ship that I just. did. not. understand (beyond the obvious that Nic Lea and David Duchovny were incredibly, freaking hot. I was perplexed not dead). But I would always return to the sticking point of "Krycek murdered Mulder's father!" Same thing would happen to me when Krycek/Scully fic would pop up. I would wonder, 'but, wait, he murdered Scully's sister...') Still, you know, in all my not feeling the ships, I don't think I ever once wrote a screed saying I was viscerally horrified when Krycek/Mulder smut or Krycek/Scully smut popped up on Gossamer or Ephemeral. I would've thought that it would be pointless, silly, and possibly offensive to some authors if I posited that fans had no businesss writing or at least were morally questionable for writing such fics or how bothered I was to see it show up on general fandom comms! Mainly I didn't write such things because I didn't feel that way. My feelings were more easily categorized as a puzzled head tilt and a 'huh' before moving on to the Scully/Mulder MSR that I was watching the list for. (And I had a serious issues with the now departed fic comm mod (Not Ephemeral or Gossamer) that up and forbade Doggett fic -- not just Doggett/Scully fic but any mention of Doggett at all...because she felt it somehow in some inexplicable way threatened her ship. I thought the attitude was absurd and quit the comm over that display of 'how dare people ship stuff that I don't ship!' entitlement.) People's interests vary. Not everyone likes what I like or vice versa. No one need explain themselves to me.

Why can't it be that simple?

There have been/are canon and fanon ships in a number of fandoms that don't do a damn thing for me. There's a huge shipping faction in True Blood that falls into that category. I understand why some people ship it, but I just... don't. Just today I ran across a post in a Being Human comm of "Why aren't there more Mitchell/Annie fics?" which took me by surprise, not because anything was wrong with it but just because it never crossed my mind to ship Mitchell/Annie in the first place. I have friends that ship couples that I just shake my head, puzzled over what the attraction could be, because it doesn't interest me. Heck, in one (relatively popular) canon/fanon pairing in a non-BtVS fandom, I cannot manage to like the characters individually, making it doubly difficult to understand why there are people who ship them together. But, you know what? It doesn't matter. There's nothing wrong with either of us. It's just a matter of preference. Not everyone likes the same thing.

Where fic is concerned there are a near endless list of things that can be done with any ship. There are good, thought provoking, and engaging fics that can be constructed out of just about any pairing if the writer is talented and interested enough. And sometimes the writer's preference and the reader's preference hits that sweet spot of perfect agreement. When that happens, whee!!!

But proclaiming "thou shalt not write X+Y fic (or X+X or Y+Y) because I don't like it" or that "You are only permitted to write X+Y fic (or X+X or Y+Y) under a the conditions I specify and consider to be acceptable" is sadly common and completely ridiculous. Fanfic is made for fans to enjoy. If you aren't a fan of the ship, move the heck along. The fic isn't meant for you. Proclaiming that someone else can't/shouldn't write whatever ship they like because it doesn't float your boat? Out of line.

Now, someone point me to some "how could you write that?!" OTPp penguin fic! Hee! >:)

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