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skywaterblueFirst, Mad Men 4.1:
I really enjoyed the new mod office walkthrough as much as the set designer and director wanted me to enjoy it. It's lovely.
I was prepared to hate on Henry's mother, who seemed like a harpy, so the reveal that she's actually concerned because she thinks that a.) Betty is a cold snake and b.) she's abusing her children was pretty awesome.
Betty being a petulant little girl about not leaving the house: oh Betty, never change. You divorced him and signed documents, girl, get yourself out of his life. That was the whole point.
Don liking getting smacked in the face by a prostitute during sex? Excellent! Not in the least surprising, given that Betty was always the trophy wife while he was cheating on her with a series of strong, independent women who bossed him around - until he disposed of them. Clearly a man who tops from the bottom.
I still ship Don/Joan. That little moment where Don's fucked up his interview with Advertising Age so everyone is mad - and then Joan is the only one who sticks behind to comfort him? Yeah.
Who the fuck is this wastrel who has attached himself to Peggy? Peggy is a magnificent goddess now in her bob and professional 'don't fuck with me' clothes. Love her. Dislike strongly her fiance.
I miss Kinsey and hate the new office boys.
Interesting start to the season. Not entirely clear what the season's themes are, but I only watched it once.
Rubicon
This is the new show that AMC is pushing hard to air after Mad Men. It's your basic LeCarre-esque espionage saga with a heavy dose of 'this has a series mystery'.
The problem is that the pilot episode deals so heavily in tropes - there's a message hidden in the crossword which starts a chain of assassinations, the head boss is clearly a double spy, and the main character is supposed to be a genius analyst. Yet when his boss gets killed despite leaving him a not at all cryptic message about what train he was going to be on and a motorcycle encouraging him to leave, and then creepy boss offers him old boss's job at the funeral, main character suspects nothing.
I'm spoiled by Garak. If anyone had killed one of Garak's associates in a 'train accident' after they left him keys to a shuttlecraft and a cryptic message, he would have been on to it like scales on Cardassians.
What I'm saying is this: Spy Dramas? The ONE PLACE it's okay for your character to have 'genre savvyness' as a trait. Because that's THEIR FUCKING JOB.
Also, the writers maxed out the main character's manpain attribute: his wife and kids DIED IN 9/11.
Skip skip skip.
Inception: Too complex to really review after only seeing it once. At a certain point in the movie there are at least five layers of story you have to be keeping track of, and while I'm pretty sure I know what happened, jeez.
I actually don't think it was as meaningful a meditation on the act of filmmaking as the Prestige is, but I'd have to see it a second time.
The special effects are really astonishing, though, and I didn't even hate Leo DiCaprio that much... even though I never am able to watch a film with him in it without thinking 'that's Leo DiCaprio'. I understand why people think this indicates he's Old Hollywood Like That, I just find it fucking annoying in 2010.
OH: The real astonishing bit is how good Joseph Gordon-Levitt is in this film. I bought him completely as an action hero. I would love to see some more movies with him as the lead. The end.
Sherlock 1.1: WHOA THERE. It's awesome and hella slashy. I love the way they use mobile phones in this - probably the most natural use of phones I've seen in anything in some time.
Mainly I want to say this:
BENEDICT CUMBERPATCH IS THE PERFECT CASTING FOR DREAM OF THE ENDLESS
MOFF, GAIMAN: STICK SOME BLACK CONTACTS ON IT AND GETTER DONE BEFORE HE'S TOO OLD.
I really enjoyed the new mod office walkthrough as much as the set designer and director wanted me to enjoy it. It's lovely.
I was prepared to hate on Henry's mother, who seemed like a harpy, so the reveal that she's actually concerned because she thinks that a.) Betty is a cold snake and b.) she's abusing her children was pretty awesome.
Betty being a petulant little girl about not leaving the house: oh Betty, never change. You divorced him and signed documents, girl, get yourself out of his life. That was the whole point.
Don liking getting smacked in the face by a prostitute during sex? Excellent! Not in the least surprising, given that Betty was always the trophy wife while he was cheating on her with a series of strong, independent women who bossed him around - until he disposed of them. Clearly a man who tops from the bottom.
I still ship Don/Joan. That little moment where Don's fucked up his interview with Advertising Age so everyone is mad - and then Joan is the only one who sticks behind to comfort him? Yeah.
Who the fuck is this wastrel who has attached himself to Peggy? Peggy is a magnificent goddess now in her bob and professional 'don't fuck with me' clothes. Love her. Dislike strongly her fiance.
I miss Kinsey and hate the new office boys.
Interesting start to the season. Not entirely clear what the season's themes are, but I only watched it once.
Rubicon
This is the new show that AMC is pushing hard to air after Mad Men. It's your basic LeCarre-esque espionage saga with a heavy dose of 'this has a series mystery'.
The problem is that the pilot episode deals so heavily in tropes - there's a message hidden in the crossword which starts a chain of assassinations, the head boss is clearly a double spy, and the main character is supposed to be a genius analyst. Yet when his boss gets killed despite leaving him a not at all cryptic message about what train he was going to be on and a motorcycle encouraging him to leave, and then creepy boss offers him old boss's job at the funeral, main character suspects nothing.
I'm spoiled by Garak. If anyone had killed one of Garak's associates in a 'train accident' after they left him keys to a shuttlecraft and a cryptic message, he would have been on to it like scales on Cardassians.
What I'm saying is this: Spy Dramas? The ONE PLACE it's okay for your character to have 'genre savvyness' as a trait. Because that's THEIR FUCKING JOB.
Also, the writers maxed out the main character's manpain attribute: his wife and kids DIED IN 9/11.
Skip skip skip.
Inception: Too complex to really review after only seeing it once. At a certain point in the movie there are at least five layers of story you have to be keeping track of, and while I'm pretty sure I know what happened, jeez.
I actually don't think it was as meaningful a meditation on the act of filmmaking as the Prestige is, but I'd have to see it a second time.
The special effects are really astonishing, though, and I didn't even hate Leo DiCaprio that much... even though I never am able to watch a film with him in it without thinking 'that's Leo DiCaprio'. I understand why people think this indicates he's Old Hollywood Like That, I just find it fucking annoying in 2010.
OH: The real astonishing bit is how good Joseph Gordon-Levitt is in this film. I bought him completely as an action hero. I would love to see some more movies with him as the lead. The end.
Sherlock 1.1: WHOA THERE. It's awesome and hella slashy. I love the way they use mobile phones in this - probably the most natural use of phones I've seen in anything in some time.
Mainly I want to say this:
BENEDICT CUMBERPATCH IS THE PERFECT CASTING FOR DREAM OF THE ENDLESS
MOFF, GAIMAN: STICK SOME BLACK CONTACTS ON IT AND GETTER DONE BEFORE HE'S TOO OLD.
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no subject
Date: 2010-07-28 05:16 am (UTC)(Obviously the woman who plays Alice in the Twilight movies should play Death. In case you were wondering.)
no subject
Date: 2010-07-28 05:19 am (UTC)If it doesn't happen, which it totally won't, I will be crushed. I've waited years for just the right person to play Dream to show up and been utterly unsatisfied with everyone suggested - this guy is the guy. The right one! He could do it justice.
no subject
Date: 2010-07-28 10:50 am (UTC)no subject
Date: 2010-07-28 03:45 pm (UTC)no subject
Date: 2010-07-28 03:49 pm (UTC)no subject
Date: 2010-07-28 05:17 pm (UTC)Even so, I think you have to jettison a lot of the short stories in which Dream metes out the punishments and rewards without doing anything. Simply because a lot of them would be ridiculously expensive to film and are at best, side stories that don't have much to do with the main narrative.
The ones you have to keep, and which should be established earlier in the narrative anyway: the one where he rescues Calliope, the two Orpheus stories, Shakespeare and Hob Gadling. I'd make a case for keeping Ramadan because I think it's thematically important and also, bitterly more resonant every year.
Also: most of the first two books have to be rewritten to some extent for television anyway, because I assume any TV production won't have the rights to any other DC characters. My thought on that is that you can just start introducing the reoccurring Sandman characters earlier - like, if they don't have the rights to the Constantines (even though Joanna is a Gaiman creation), you could have Orpheus's head get rescued by Thessaly.
no subject
Date: 2010-07-28 07:05 pm (UTC)Wherein may I find this Sherlock in my television? Channel? Time? Well, channel. I could find it on my own after that. Sounds interesting.
no subject
Date: 2010-07-28 07:19 pm (UTC)no subject
Date: 2010-08-02 12:03 am (UTC)Belatedly! Have you seen "Brick"? Especially if you appreciate noir, it's a pretty decent flick and is where I first kind of went "whoa!" to JGL's acting. So... yes. Might want to give it a go if you haven't seen it already. :)
no subject
Date: 2012-10-16 06:12 am (UTC)