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"I know everything."
So, this week I managed to come down with a cold that completely pole-axed my brain. Completely, to the point where I could barely string two words together. And, you know, I kind of like to ramble on, so this was something of a hardship for me. Still. I watched the entire first season of Deadwood in one day, while off work trying to shake the thing off, so it wasn't all bad. Only 12 episodes in the season, I hasten to add – HBO are a bit like the Beeb in that respect. It's still something of a feat for me to get through that many episodes in one day – the only other time I've done that was my Rome marathon while cat-sitting for my parents last Easter. Must be a thing about HBO shows, clearly!
So. Deadwood. I saw the first episode, of course, a few months ago, but never actually carried on watching. I liked the first episode, but had other stuff on my viewing schedule, and kept putting the rest off and off…once I started watching again this week, though, I got sucked in so fast! There isn't much standalone about any of the episodes; they're more like chapters in a long, ongoing story, so the deeper you get into it, the more compelling it becomes, watching the story unfold as each episode rolls into the next.
I have to confess: I don't know a huge amount about American history. It's all broad, sweeping brushstrokes, with very little in the way of detail. Modern history really isn't my thing, and never has been. Having said that, this is the period of American history that interests me most, and the show brings it to life wonderfully. With the settlement being in an area not yet annexed to the United States, on Indian land, illegal, it allows for intriguing community dynamics. There is no law, none whatsoever. Except that there is, but what law exists does so only because the disparate people who make up the community agree that it does. And so one murder is disregarded utterly while another provokes horror and retribution, depending mostly on circumstance, identity and connections. Because, for all the double-crossing and murdering that is rife throughout the show, these people have no recourse to anyone but each other, and so a certain amount of cooperation is necessary in order to survive. And it's the shifting web of friendships and alliances that make the show so fascinating.
I really like the Doc. And the poor, sweet Rev. And I still can't get over Ian McShane as Al Swearengen, the biggest double-crosser and most murderous bastard of the lot, and the central lynchpin of the community. Dan Dority is perhaps the most surprisingly sympathetic character, considering he's basically Al's private assassin. And I was intrigued by the fate of the little orphan girl, Sophia, left for dead in the first episode and then passed from one carer to another before ending up in the at-first somewhat reluctant care of the wealthy Mrs Garrett. It really brought home how vulnerable an orphan child like that would have been in those circumstances, her very life dependent on the charity of strangers. She only survived at first because of Bullock and Bill's willingness to do the right thing and investigate the report of her family's murder, and then because of the Doctor and Jane's dedication and determination, was then abandoned once again, this time by Jane, yet continued to thrive because Mrs Garrett was too dutiful to turn her out despite being disinterested and caught up in her own troubles. But with Mrs Garrett now clean and having developed maternal feelings toward her charge – and having struck it rich – that little girl's future now looks more assured than probably at any time in her life!
Also this week, I came to the end of Farscape season one, which I've been watching via amazon rental. Now, I've seen a lot of Farscape over the years, so know pretty much how the show pans out, in general, but I've never sat down and watched it properly, in order. So this was my first ever genuine run-through of season one, although I'd seen most of the episodes before at some point or another. It's such a fun show, with such an eclectic bunch of characters. Patchy in places, but most shows are, when you get down to it. Some of the episode plots are a bit silly, but hey – it's science fiction! And yeah, a couple of the regular characters are muppets. You do get used to that, honest, as you watch this little group of outcasts and renegades slowly becoming a team, a crew – a family.
I think this is the only show I've ever watched where my favourite character has been a woman. I usually find the men holding my full attention! But Aeryn has always been and remains my favourite character in Farscape. I think it's because…so many so-called 'kickass' female characters on TV tend to be so very self-consciously so. All about the posturing and the glossy hair, perfect make-up, chic outfits, because they have to be trendy modern women, as well as warriors. Well, there's nothing glossy or chic about Aeryn. She's just a warrior, right to the core: down to earth, pragmatic, often dishevelled, but always, always dignified. So, yeah, my favourite character. But I'm also very fond of Crichton, because who couldn't be? For a genius scientist, he's such a doof. And I love Pilot, too, and yeah, he's one of the muppet characters, but seriously – so snarky, what's not to love?
So, Deadwood and Farscape seasons two and beyond still to come, although I'm not sure when.
Torchwood impressed again last night. I still feel ridiculously reluctant to say I'm enjoying it, because the first season was such a mess and that disappointment is hanging over into this season – two strong episodes in, but I'm still waiting for the other shoe to drop, waiting for it all to fall apart again. The plotting and writing in general still isn't as strong as it could be, but is so vastly improved it's hard to believe it's the same show at times.
I think the main difference lies in the characters. This season the writers are allowing them to be grown-ups and professionals, rather than having them act like sulky, sex-crazed teenagers all the time, and it makes all the difference. Also, it feels like they actually like each other this year, like they care about one another, and that makes a huge difference. Last year I had a hard time believing any of them cared about each other in the slightest, even when they were running around shagging each other at the drop of a hat.
And on that note, although the tendency toward adult=sex is still there, it's been toned down a lot since last year, for which I'm extremely grateful. All that over-emphasis on how 'adult' and 'racy' the show was manifesting as constant shagging and sexual innuendo last year was one of the things that weakened the show most, shoehorned in every which way regardless of what that sledgehammering did to the plot or to character development. With all that taking a back seat so far this year, I'm liking all the characters a lot more than I did, although we haven't seen much of Tosh or Owen yet to know if that's going to hold true long-term. Ianto is playing a larger role than he ever has, and becoming highly amusing in the process. He gets some fantastic, droll lines. Even Gwen isn't annoying me, despite being so naïve still in so many ways, and also such an idiot so much of the time. Honestly, every time she went near Beth last night I felt like yelling at her to get away from the hand that turns into a lethal weapon already. I guess her faith in Beth was proved right, since she survived intact, but still.
They did well with the guest actor playing Beth, who really carried this story and made it work, her vulnerability, fear and desperation shining through throughout, although it was pretty obvious from early on that she was going to have to die. Kind of convenient plotting, mind, that sleeper#4 skewered Jack instead of Gwen, when both were hovering over him and Gwen was actually an easier target. I suppose they feel they have to lethally injure Jack every single episode still. He didn't actually die this time, at least, although he probably should have – he usually has to 'die' before he can restore himself. That's just a minor nitpick, and there were plenty more to be had in the episode, but I promised myself I wasn't going to pick at the plot in case it all unravelled. It was a strong, enjoyable episode, which makes two in a row now, and that's something to be very happy about.
Lark Rise to Candleford impressed again this week, as well. I'm really enjoying this show – perfect Sunday night entertainment. All the characters are settling down now into distinct personalities and motivations. I really felt for Laura's mother, Emma, in this episode. Because she was the one who arranged for Laura to go away and work at the post office in Candleford. She wanted her daughter to have that opportunity to better herself, pushed for it even when Laura didn't want to go, but now clearly feels that she's losing her daughter and being left behind – resentful, even, somewhere deep inside, that Laura has prospects above and beyond anything Emma ever had herself. It's really lovely, subtle character work. I was also rather impressed by Thomas Brown in this episode. Having been well and truly established as a fussy and rather pedantic man, something of a gossip-monger and a definite snob, we then get to see that there's more to him than that, get to see his better side. Despite his disapproval in general – and, okay, with a little prompting – he took that little boy under his wing and provided him with the guidance he'd complained that the child was lacking, proving that there's more to him than meets the eye, that he can match his grumbling words with actions. Again, it's nice character work and development.
I'm still not sure what to make of Dorcas. She's clearly well meaning and generally good-hearted, but also very manipulative and something of a control freak. I think she likes the power of being the keeper of secrets and of being the one who can resolve everyone's problems, probably because she has no control over her own love life – she and the man she loves can never be together, divided by class and by his unhappy marriage. So she compensates by busybodying herself around everyone else's business. There's just something about her delivery, and it has to be a deliberate acting choice, because I know Julia Sawalha's work too well to think otherwise – it feels like she's playing a part all the time, presenting this permanent act to the outside world. Like we've never yet seen her true self, hiding behind that mask. Hopefully over the episodes to come we'll come to see the chinks in her armour, and begin to understand what truly makes her tick.
So. Deadwood. I saw the first episode, of course, a few months ago, but never actually carried on watching. I liked the first episode, but had other stuff on my viewing schedule, and kept putting the rest off and off…once I started watching again this week, though, I got sucked in so fast! There isn't much standalone about any of the episodes; they're more like chapters in a long, ongoing story, so the deeper you get into it, the more compelling it becomes, watching the story unfold as each episode rolls into the next.
I have to confess: I don't know a huge amount about American history. It's all broad, sweeping brushstrokes, with very little in the way of detail. Modern history really isn't my thing, and never has been. Having said that, this is the period of American history that interests me most, and the show brings it to life wonderfully. With the settlement being in an area not yet annexed to the United States, on Indian land, illegal, it allows for intriguing community dynamics. There is no law, none whatsoever. Except that there is, but what law exists does so only because the disparate people who make up the community agree that it does. And so one murder is disregarded utterly while another provokes horror and retribution, depending mostly on circumstance, identity and connections. Because, for all the double-crossing and murdering that is rife throughout the show, these people have no recourse to anyone but each other, and so a certain amount of cooperation is necessary in order to survive. And it's the shifting web of friendships and alliances that make the show so fascinating.
I really like the Doc. And the poor, sweet Rev. And I still can't get over Ian McShane as Al Swearengen, the biggest double-crosser and most murderous bastard of the lot, and the central lynchpin of the community. Dan Dority is perhaps the most surprisingly sympathetic character, considering he's basically Al's private assassin. And I was intrigued by the fate of the little orphan girl, Sophia, left for dead in the first episode and then passed from one carer to another before ending up in the at-first somewhat reluctant care of the wealthy Mrs Garrett. It really brought home how vulnerable an orphan child like that would have been in those circumstances, her very life dependent on the charity of strangers. She only survived at first because of Bullock and Bill's willingness to do the right thing and investigate the report of her family's murder, and then because of the Doctor and Jane's dedication and determination, was then abandoned once again, this time by Jane, yet continued to thrive because Mrs Garrett was too dutiful to turn her out despite being disinterested and caught up in her own troubles. But with Mrs Garrett now clean and having developed maternal feelings toward her charge – and having struck it rich – that little girl's future now looks more assured than probably at any time in her life!
Also this week, I came to the end of Farscape season one, which I've been watching via amazon rental. Now, I've seen a lot of Farscape over the years, so know pretty much how the show pans out, in general, but I've never sat down and watched it properly, in order. So this was my first ever genuine run-through of season one, although I'd seen most of the episodes before at some point or another. It's such a fun show, with such an eclectic bunch of characters. Patchy in places, but most shows are, when you get down to it. Some of the episode plots are a bit silly, but hey – it's science fiction! And yeah, a couple of the regular characters are muppets. You do get used to that, honest, as you watch this little group of outcasts and renegades slowly becoming a team, a crew – a family.
I think this is the only show I've ever watched where my favourite character has been a woman. I usually find the men holding my full attention! But Aeryn has always been and remains my favourite character in Farscape. I think it's because…so many so-called 'kickass' female characters on TV tend to be so very self-consciously so. All about the posturing and the glossy hair, perfect make-up, chic outfits, because they have to be trendy modern women, as well as warriors. Well, there's nothing glossy or chic about Aeryn. She's just a warrior, right to the core: down to earth, pragmatic, often dishevelled, but always, always dignified. So, yeah, my favourite character. But I'm also very fond of Crichton, because who couldn't be? For a genius scientist, he's such a doof. And I love Pilot, too, and yeah, he's one of the muppet characters, but seriously – so snarky, what's not to love?
So, Deadwood and Farscape seasons two and beyond still to come, although I'm not sure when.
Torchwood impressed again last night. I still feel ridiculously reluctant to say I'm enjoying it, because the first season was such a mess and that disappointment is hanging over into this season – two strong episodes in, but I'm still waiting for the other shoe to drop, waiting for it all to fall apart again. The plotting and writing in general still isn't as strong as it could be, but is so vastly improved it's hard to believe it's the same show at times.
I think the main difference lies in the characters. This season the writers are allowing them to be grown-ups and professionals, rather than having them act like sulky, sex-crazed teenagers all the time, and it makes all the difference. Also, it feels like they actually like each other this year, like they care about one another, and that makes a huge difference. Last year I had a hard time believing any of them cared about each other in the slightest, even when they were running around shagging each other at the drop of a hat.
And on that note, although the tendency toward adult=sex is still there, it's been toned down a lot since last year, for which I'm extremely grateful. All that over-emphasis on how 'adult' and 'racy' the show was manifesting as constant shagging and sexual innuendo last year was one of the things that weakened the show most, shoehorned in every which way regardless of what that sledgehammering did to the plot or to character development. With all that taking a back seat so far this year, I'm liking all the characters a lot more than I did, although we haven't seen much of Tosh or Owen yet to know if that's going to hold true long-term. Ianto is playing a larger role than he ever has, and becoming highly amusing in the process. He gets some fantastic, droll lines. Even Gwen isn't annoying me, despite being so naïve still in so many ways, and also such an idiot so much of the time. Honestly, every time she went near Beth last night I felt like yelling at her to get away from the hand that turns into a lethal weapon already. I guess her faith in Beth was proved right, since she survived intact, but still.
They did well with the guest actor playing Beth, who really carried this story and made it work, her vulnerability, fear and desperation shining through throughout, although it was pretty obvious from early on that she was going to have to die. Kind of convenient plotting, mind, that sleeper#4 skewered Jack instead of Gwen, when both were hovering over him and Gwen was actually an easier target. I suppose they feel they have to lethally injure Jack every single episode still. He didn't actually die this time, at least, although he probably should have – he usually has to 'die' before he can restore himself. That's just a minor nitpick, and there were plenty more to be had in the episode, but I promised myself I wasn't going to pick at the plot in case it all unravelled. It was a strong, enjoyable episode, which makes two in a row now, and that's something to be very happy about.
Lark Rise to Candleford impressed again this week, as well. I'm really enjoying this show – perfect Sunday night entertainment. All the characters are settling down now into distinct personalities and motivations. I really felt for Laura's mother, Emma, in this episode. Because she was the one who arranged for Laura to go away and work at the post office in Candleford. She wanted her daughter to have that opportunity to better herself, pushed for it even when Laura didn't want to go, but now clearly feels that she's losing her daughter and being left behind – resentful, even, somewhere deep inside, that Laura has prospects above and beyond anything Emma ever had herself. It's really lovely, subtle character work. I was also rather impressed by Thomas Brown in this episode. Having been well and truly established as a fussy and rather pedantic man, something of a gossip-monger and a definite snob, we then get to see that there's more to him than that, get to see his better side. Despite his disapproval in general – and, okay, with a little prompting – he took that little boy under his wing and provided him with the guidance he'd complained that the child was lacking, proving that there's more to him than meets the eye, that he can match his grumbling words with actions. Again, it's nice character work and development.
I'm still not sure what to make of Dorcas. She's clearly well meaning and generally good-hearted, but also very manipulative and something of a control freak. I think she likes the power of being the keeper of secrets and of being the one who can resolve everyone's problems, probably because she has no control over her own love life – she and the man she loves can never be together, divided by class and by his unhappy marriage. So she compensates by busybodying herself around everyone else's business. There's just something about her delivery, and it has to be a deliberate acting choice, because I know Julia Sawalha's work too well to think otherwise – it feels like she's playing a part all the time, presenting this permanent act to the outside world. Like we've never yet seen her true self, hiding behind that mask. Hopefully over the episodes to come we'll come to see the chinks in her armour, and begin to understand what truly makes her tick.