Many of your favourite Tv shows are coming to the end of their runs this season or next and we need a new generation of objects of lust...
@ A-levels in Brooding, Smouldering and Snarky Banter
@ Must look good in leather
@ Must be able to convey The Vast Weight of Existential Angst Pressing Down On My Sensitive, Tortured Soul , using only small eyebrow movements
@ Must tote large phallic gun in devil-may-care manner. Losing gun for purposes of plot a distinct advantage (if no gun, then fangs and advanced Snarky Banter may be considered)
@ Must resort to sarcasm and cracking of the wise on every possible occasion
WARNING: If you apply for this position, you may be forced to:
(1) dye your hair an unwise colour
(2) lose your soul
(3) wear forehead prosthetics
(4) lose relatives/best friends/significant others in tragic ways connected to wide-ranging conspiracy/evil from beyond the dawn of time/the dark side of the force
(5) many of you will also have to have a hand/arm cut off (sorry, this seems to happen a lot)
If you are interested in this position please apply at address below.
[Heroines also considered but please pay attention to Standard Fantasy Series Protagonist Contract clauses 1 (kickassery); 4 (ability to tote gun *and* flashlight); and 17 (no weeping unless it's of the beautiful, angry 'n' repressed kind).
Also bear in mind that strong, intelligent heroines who complain about sexist producers may be replaced halfway through any run with catsuited, chesty fembots whose IQ is shown not through character development, but through the random wearing of glasses and other characters saying "whoah, I hear she's really smart". This is called "appealing to foolish members of the male 18-35 demographic who are most likely to buy our shite merchandise"]
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Today was Sunday. Bleurgh. I will be glad when I'm working them again. (which is in 148 working hours from now. Counting down... counting down...)
I bought a dining table from the junk shop for 75 quid a few weeks ago and I've been waiting for a free day when it wasn't raining ever since. The previous owners (idiots) painted in bottle green, white and gold paint. Probably watched bleedin' Changing Rooms once too often.
It's thick pine, beautiful, if a little knocked up and scuffed. I slathered it in lethal Nitromors, which has everything short of a skull and crossbones on it because of its toxicity, and then spent the next three hours scraping off the paint while hoping I was not inadvertantly poisoning myself.
Hard work -- and I still have to sand it and varnish it. I am hoping I will feel all accomplished and stuff when it is done.
Also resealed the bath and sink after the previous sealant reacted with something in the tiling grout and turned bright bright blue. Is is copper sulphate that goes that obnoxiously bright peacock blue? That colour, anyway. Thus, whole of downstairs stinks.
Feh. The Gods of Home Improvement fart in my face once more.
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The new season of XF (S8 - we are way behind) started on BBC2 tonight, very late. It's so weird to think that the last time I saw that ep I was more than a year ago, in California with Fi, in the midst of a wonderful trip.
Didn't watch it. I plan to watch only the ones I haven't seen -- some of which I'm looking forward to watching. Don't hurt me but I really want to see "Badlaa". I alreafy have the mytharcy ones on video.
And possibly DeadAlive yet again, for Krycek and the end bit.
Zen. Zen. Zen. Fic. Zen. Zen. Videotapes. Zen.
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...darkness... Moya swallowed...
I don't really have a clue, but I think DW2B is about three things: (1) John coming unglued and making his own choice (2) John and Aeryn and (3) Moya. Someone wants Moya badly.
Been reading some really interesting discussion lately about John's nature and whether he is a hero or not -- and whether it matters.
One of the things I rather like about Farscape is that John could not be more conventionally heroic if you look at only the set-up. He's an astronaut, fer the love of God, he's smart and quick-witted and a little boyscoutish.
Then he's given the perfect set-up in which to be heroic too: he's both the innocent abroad *and* the unjustly accused fugitive. But in FS -- unlike every "Star Trek" series, save for the fabulous "Deep Space Nine" -- the characters change over time in unexpected ways and John, in particular, is roughed up, dusted down and generally deconstructed for our viewing pleasure.
John is unpeeled, layer after layer, over three seasons; the culmination of it would appear to be the last four eps. It's as if he's worn down to his constituent parts by the battle and by the way that his choices are cut and cut until he's left with only a few unpalatable options.
You can see it in the way he deals with the very excitable version of Harvey in his waking nightmares aboard the command carrier. With the battle going on in the background, he and Harvey play three different games and he loses each in three different ways.
In the chess game, he simply capitulates; when they switch to checkers, he hesitates and Harvey cleans up and in Go Fish! he chooses the wrong cards and Harvey wins. Each game is less complex than the previous one. Each time the battle sounds a little nearer.
(C. even broke it down further with analogies but I'm buggered if I can remember them)
Both John and Aeryn are running on fumes throughout the episodes; John for obvious reasons, because all the options are closing down on him and because "the plan" -- and having a plan is a device on which he relies, despite his flair for improvisation -- is hopelessly unplanlike.
Afterwards, I think he's hurt by the way all his friends are abandoning him, and that he is not wanted on their journeys, even as he knows that he has no right to object. His mission is over; theirs is just beginning. He can't go home, yet all the knowledge is pouring out of him, useless. His arm are covered in ideograms that look runic and beautiful throughout the last ep.
Aeryn finds that she can't reconnect to her old life -- despite her reaction at the end of "Choices" and she will not (and cannot right now) reconnect to John.
How much she has changed is shown in her reaction to the small child, for which she is admonished by her former friend. (Henta? Something like that. That was an intense, intense set of meetings; so much hurt on both sides. If a slasher decided that there had been earlier recreating, I should not be in the least surprised. ) After Crais and Talyn die as well, she reaches out for the familiar: PK routine. She says the ex-PKs they "stop terrorism and protect people" (and we only have Jool's word that they are assassins) but it sounds like she's bolting now and justifying later.
DW2B is a weird-but-good episode. Somewhat like "Restless" except less richly complex and the only person into whom there is any insight is John, who has won the battle but feels as if he has lost.
The danger with something like "DW2B" or "Restless" is that you start reading too much into it. Sometimes the cheese is just cheese. Sometimes it is not.
We're meant to doubt the old woman. (Personally I make it a rule never to trust people who drug others, chew grass, gob in the crockpot or bite ears. It's a just a thing I have.) It's odd how each time someone asks "Who the frell is that?" the question just gets forgotten as if someone has designed for her to slip under the radar. It's the woman herself who answers the question later.
Another odd thing: why would Rygel think that once Talyn is laid to rest, he and the others are free and clear to return home, unpursued?
They still destroyed a command carrier and even if Scorpy has kicked the bucket (which he clearly cannot have done because you'd be an idiot to kill off your best villain without leaving room for plausible deniability, wouldn't you, Chris Carter?) Commodore Cleavage is still out there and has had a good look at all of them.
The old woman is manipulating John's visions. I think John is aware of that on some level -- the repeated "This is not right". However, he's so lost and unanchored, drifting through his dreams that he cannot pull together any sort of resistance.
I think there's another level of manipulation going on, aside from John -- something seems intent on manoeuvring Moya into the sacred place and keeping her there.
The mad Leviathan plot device is another source of oddness. How would the mad Leviathan know about what happened with Moya and Talyn? If you explain that by [handwaving], Pilot's reaction and his instruction to kill another living creature, no matter how dangerous, still seem quite extreme. Both John and Jool raise objections. Jool would anyway, but John seems certain that something, somewhere, is off.
In the scene where Aeryn tells John about the mad Leviathan, the old woman is clattering in the background. When Aeryn suggests "we could dodge for a while"; the woman makes the most godawful racket and we're meant to notice it. After that, they decide to go for the rogue Leviathan.
When Chiana goes to persuade Moya to leave the sacred place without laying Talyn to rest, the first moments, when she is arguing for leaving, are shot oddly, slowly. Almost everything Chi says is repeated word for word, like a bizarre time-loop.
Yet when she changes her mind abruptly and says that Moya should bury Talyn "wherever the frell she wants", all of that stops, Chi is back to her normal speed, with her normal stuttery way of speaking, as if this is the correct solution so she is being permitted to speak normally.
It could be that the whole thing is about separating Moya from the most pro-active parts of her crew, keeping her in position near the sacred place, so she can be removed via the wormhole.
Who knows whether the crew has even left? You don't see them leaving.
The old woman clearly wants Aeryn and John together, possibly together so they're not on Moya. (possibly not) She persuades him to go after Aeryn, she bites Jool's ear when she raises an objection to John's pursuing Aeryn and, given John's reaction in LATP to the same issue, she tells him the only thing that could persuade him to break faith with his and Aeryn's parting and go after her.
I suppose that what this all boils down to is that I want the final scene revelation of impending sprog to be another lie, because really, the record on babies in sci-fi/fantasy shows is not good.
I want the FS producers to have planned this as an arc rather than the more familiar "Spring big shock in finale, go on holiday, get back and realise have to pull solution out of my ass in a week" model which I am familiar with.
I also don't want to have found another show I like, only to find it does the slalom down Shite Hill as soon as I get into it.
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Tonight I watched "Family Ties" for the first time. Ooooooh. V. gooooood. *g*