The bring back Grodin people remind me of the save Ford/save our show petition people, where the show wasn't in danger of being cancelled but they were alarmed and upset by the change in tone and how SGA was become more military and that went against the spirit of the show.
'Lessons'
Boxed Set, Vol. III: "That Can't Be Good..."
A topic for the discussion of Farscape, Smallville, and Due South. Beware possible invasions of Stargate, Highlander, or pretty much any other "genre" show that captures our fancy. Expect Adult Content and discussion of the Big Gay Sex.
Whitefont all unaired in the U.S. ep discussion, identifying it as such, and including the show and ep title in blackfont.
Blackfont is allowed after the show has aired on the east coast.
This is NOT a general TV discussion thread.
t natter
Askye, did you get an email from me the other day? Gmail was being weird, so I wanted to make sure.
t /natter
Heh. A bigtime-Peter-Grodin-fan friend of mine just happened to be in Vancouver recently. This has her style of humour written all over it....
t natter
Lee - I did and I thought I'd sent the email, somehow it ended up a draft so it's now backflung.
t /natter
I think for the most part we are a writer-weighted community, and I'm all the way onboard with that. But I also enjoy deconstructing the mechanics of interpretation, of performance, of how a director or an actor chose to play the words on the page.
Joss had definite ideas how he wanted his lines to sound, and he wrote the words he wanted his characters to say. When possible he directed the action to look like the vision in his head, and I respect the cohesiveness of his vision, because for the most part it gave us a complete world, a realized 'verse whose values and concepts we could recognise and accept as fact.
But I'm still interested in those aspects of performance and interpretation once the words are off the page. I'm curious as to who made the choice to turn away just there, to hesitate over that line, whether it came up naturally in rehearsal or read-through, whether it was a direction, or something that evolved from the synthesis of an actor and the character, or an ensemble cast.
As we're W&Ping Faith tomorrow--well, just about 24 hours from now--I was just reading over sargraf's breakdown of "brother touches" on LJ, here.
I know I've mentioned her(?) here before, she does wonderful analyses of the relationship between the brothers as revealed through physicality and types of touch in the first season episodes. Not so much on the second season, not yet, anyway.
Faith is a reversal of the usual style, since Dean is a border collie in human form, physically herding and guiding Sam and anyone else under his protection, and in Faith he's too weak to "herd". Sam's style is completely different, and while he tries some of the same methods, he's not as successful at it as Dean.
It's a fascinating--to me, anyway--look at body language and how we communicate even when we're not aware of it. sargraf's breakdowns of Shadow and Salvation were a revelation of motivation and interpretation, and in the case of Shadow, her analysis was borne out by comments by episode director Kim Manners and JA at the Paley Festival last year.
I find that I've subliminally picked up on a lot of this stuff, but having it broken down and explained sort of illuminates it for me. And it makes me wonder, again, how much arises normally in the workday of getting pages on film, and how much is blocked and planned and rehearsed.
Just me then?
Juliebird,
It's a personal preference that I like dark(er) better, if only because while quirky and light is fun, it's also more easily dismissed. The grimmer stuff resonates with me. I like more consequences, I like higher stakes, and if I'm laughing at the world about to end, then I'm not taking any of the story seriously and I'll forget about it in an hour.
TOTALLY agree. That is what I loved about Serenity. There was a point where I seriously wondered if Joss might just close down the franchise by killing everyone off. The way he set the stage it was a serious possiblity. Anything less would have been cartoonish.
Just me then?Not just you, Bev. I just have that window open and haven't been able to set aside enough of my brain to look at it, think about it and talk about it in the way that it deserves.
Because I pick up a hell of a lot from what we actually see and that is the writer, the director and hugely the actors. There are scenes that would be completely different for me if I were to just read them but as they appear onscreen, I get another vibe altogether.
So I am mostly thinking about my response. And some of it is edging into meta. But, no, not just you.
Season 3 of the new Dr. Who starts in the UK this Saturday.
So apparently putting off buying the SGA season 2 DVDs until I finished my taxes was a smart move, because as of this morning, I am getting someone's presumed-lost-in-shipping DVDs for FREE.
Yay for free! I can't remember if I have SG:A S2 yet or not. Must check.