Lisa Says

Big Love Season Four Credits = WTF?

2010-03-09T19:55:00.000-08:00

OK, so I know I am a little bit behind everyone on the latest season of Big Love. I actually just started watching the show a few weeks ago, and have since plowed through (marathon-style) to the fourth season. While I am enjoying the show more and more, I have to ask: what is going on with the new credits?

Maybe I just need to get used to them? I admit that it took me a while to enjoy the old credits. I've never been a huge Beach Boys fan. But the hokeyness grew on me, and I started to love them. These are just a bit too over the top, in my opinion. I mean, really, really over the top.

Am I wrong? Does anyone else feel this way?

Original Credits

Book Review - Never Let Me Go

2010-03-08T23:23:00.000-08:00

One thing is for certain: Kazuo Ishiguro is an amazing writer.

I liked this book a lot, but I didn't love it. It drew me in and kept me interested. The plot is revealed slowly, and mysteriously. One big problem I have with it, however, is that the clones (yes, clones) never once consider the option of rebellion.

From what we can glean from the novel, there are legions of them, all raised in different environments, ranging from very barbarous (as we learn later in the novel) to very sheltered (like the English boarding school, Hailsham, where the main character Kathy was brought up). Considering that before Hailsham most of these environments were, in fact, very undesirable, it would seem to follow that, if these clones were as "human" as the novel makes us believe, there would have been some sort of uprising.

Instead we get a kind of morbid acceptance. Kathy, especially, seems to lack the spark needed to make her a truly compelling main character.

The Tragic Tale of Topher Brink

2010-03-08T21:29:00.000-08:00

"If I think I can figure things out, is that curiosity or arrogance?" - Topher Brink, "Epitaph One"

I’ll be the first to admit it. When I first started watching Dollhouse, I did not care much for Topher. Though he often played the role of comic relief, there was something kind of sinister and Warren Mears-esque about him. He did not seem to view the dolls as human—rather, they were his playthings. At worst, his science experiments. There was little to suggest that his character had any moral depth at all.

However, it soon became clear that he was not morally bankrupt—merely morally infantile. Furthermore, as the series progressed we saw him grow substantially, and he became one of the most interesting characters (not to mention my personal favorite). But the lesson in humility that Topher learns ultimately comes too late, and as a consequence, he retreats into the guilt-ridden psychosis that we see in “Epitaph One” and “Epitaph Two: The Return.” Ultimately, the only way that his character can find peace and redemption is through death. Topher’s character is, essentially, a classic example of the tragic hero—the classical archetype whose actions inevitably lead to their downfall. Examples of the tragic hero in literature include Hamlet, Macbeth, Oedipus—even Dr. Victor Frankenstein from Mary Shelly’s 19^th century science fiction novel.

The similarities between Frankenstein and Topher are particularly uncanny. Both set out to become almost like gods, and both of their creations eventually become too much for them to control. Like many tragic heroes they both fall victim to their own hubris. Topher is, undoubtedly, a genius, and there are many instances in the series where he reminds people of this fact. He takes pride in his intellect, and as a result he seems to gloss over the moral implications of his work. In “Ghost,” he recites his own version of the famous line from Hamlet to Boyd: “There is nothing good or bad, but thinking makes it so, man-friend.” Topher rationalizes his actions in a number of ways. He even believes that his actions are altruistic. However, like Frankenstein, he is later repulsed at the cavalier attitude he started with, especially when confronted by the despair of his most elaborate creation, Dr. Claire Saunders.

The connection between Topher and Dr. Frankenstein is visually made quite clear in “Ghost,” when we see Sierra hooked up to cable wires and writhing on a chair. The flashing lights add an element of horror, as does Echo’s bewildered expression upon discovering Sierra in pain. During this scene, Topher reacts toward Echo as though she is an inferior, even subhuman, by dismissing her concern. In the following interaction between Boyd and Topher, concerning the fact that Victor, Sierra and Echo have begun “grouping,” we can see clearly see that Topher does not view them as people. He states, simply, “They're a little bit bison.” Similarly, in “A Spy in the House of Love,” Topher does not take Echo seriously when she tells him she can help him, and then says something along the lines of “Did I really just lose an argument to a doll?” Of course, later she surprises him by revealing that she is aware that he changes people—that he makes people different after they sit in his chair.

There are many moments in the later season one episodes that show that Topher is evolving. First, there is the altruistic engagement involving an abused little girl. Echo is assigned to help coach a young girl who has been the victim of sexual abuse, but instead of simply arming her with the skills of a professional psychologist, Topher takes it a step further. He actually imprints Echo with the identical personality of the child—except that Echo’s personality takes into account the healing factors of time, and a willingness to work through the trauma. In a sense, she is the child’s future, a role-model that she can look to in order to understand that she is not alone, and that she can accomplish things in life, despite everything that she’s been through. Another example of Topher’s growing conscience is his disturbed behavior during the scene where Victor is downloaded with the personality of Dominic—who had been sent to the Attic. Besides an affinity for Boyd, Topher had rarely shown an interest in his fellow Dollhouse workers. Interestingly, Dominic and Topher hadn’t even gotten along well. Still, there is a sense of guilt in his reactions toward seeing the man suffer.

Finally, there is his aura of sadness in the last episode of season one, “Omega,” after being confronted by Claire, who has figured out that she is merely an imprint. There seems to be a connection between these two, though the exact nature of that connection is never made completely clear. He is her creator, to be sure—but one almost suspects that he knew her before she became a doll. When she asks him why he programmed her to hate him he seems perplexed, and almost hurt. This sadness carries on into the last scene, when Echo is returned to the Dollhouse and she raises her hand to lay it against Topher’s chest—visually signifying a kind of heartache, and more importantly, the presence of a “heart,” or emotional center in Topher’s character. These moments in season one clearly show that Topher is developing a conscience. He is not a bad man. He is just so caught up in the science of the Dollhouse that he doesn't think about its negative impact on people's lives. In the unaired 13th episode, however, we see him crushed under the weight of guilt. He has literally been driven insane by the consequences of the science he helped create.

In "Epitaph One" we are confronted with a very different version of Topher Brink. Like the classic tragic hero figure, he has come to the realization that his actions have led him (not to mention the rest of the world) on a path to destruction. Overcome by guilt, he has withdrawn into himself, and only seems to successfully communicate with Adelle, his nurturing mother figure. He sleeps in one of the doll pods in the ground, surrounded by books and a statue of Buddha. This is particularly interesting when you consider the fact that he mocks religion in the first season. It is a stark contrast from the joking, egotistical Topher that we are used to, and a little shocking. While we did see him developing a conscience in season one, it is a large leap in character development to have him suddenly be mentally ill. Luckily the show was renewed for a second season—otherwise we would have largely missed out on this development.

Indeed, in the very first episode of the second season, “Vows,” we witness this new side of Topher beginning to emerge. Visually, we see his sleeping chambers for the first time. It’s interesting that his bed, which is merely a mattress, is surrounded by machines and wires. Because of this choice of setting, we get a sense of just how steeped in the technology he is—and yet seeing where he sleeps gives him more humanity than he had in the first season, when he rarely left the imprinting room. What really makes “Vows” an important episode for Topher, however, are the scenes between him and Claire. In “Vows,” we see a progression toward the madness and self-reproach that was played out in Epitaph One. Now that Claire knows she is "a fake," she has resolved to make life difficult for Topher—mostly by messing with his imprint machines (by uploading an image of the Bride of Frankenstein, no less!) and putting rats in his cupboards. Though these seem like harmless pranks, we can see him starting to crack.

The most memorable scene is when Claire tries to seduce him while he is sleeping. When he pushes her away, and asks her what is going on with her, she states, "This is the end game. You create someone to hate you, so you can convince them to love you." After refusing her advances, Topher reveals that he didn't program her to hate him—she chose to do that herself. She then breaks down, and he asks her why she doesn't want to know who she used to be. Her answer is heartbreaking: "Because I don't want to die."

This is clearly a mind-boggling moment for Topher, as confronted with the idea that his imprints are actual people, and the fact that he is playing God when it comes to their lives. After all, if they are real people, then he is essentially killing them every time he puts them in the chair. Just like Dr. Frankenstein, and many other classic tragic heroes, he has been blinded by his own hubris, and by his inability to question the moral implications of the power he possesses.

Topher faces an extreme moral dilemma in the episode “Belonging.” In the episode, Nolan Kennard arranges for Sierra to be released to him, permanently. After researching a bit, Topher realizes that Sierra was not a willing victim of the Dollhouse—that she was drugged and driven insane by the very man who claimed to be her doctor, and consequently sent to the Dollhouse so that he could “buy” time with her.

It is strangely fitting, and disturbing, that Claire is the one that sends Topher over the edge again at the end of season two, by killing the girl that he has started to form a romantic attachment with. Bennett becomes a victim not only to the technology that Topher created, but by the very person that sees Topher as her creator. Topher’s "Frankenstein monster" has come back to seek revenge (her motives, however, are somewhat unclear.)

Like all tragic heroes, Topher eventually dies. He has to. There is no way for him to make up for what he's done without some kind of extreme sacrifice.

Big Love for Big Love

2010-03-05T15:45:00.000-08:00

I tried watching this show a few years ago, and I lost interest a few minutes into the first episode. It seemed like the stereotypical "perfect male fantasy" to me, and to be honest, the dynamics between Bill and his three wives kind of creeped me out. Don't get me wrong: I don't care if people are polygamous (as long as it is consensual) but the feeling I got from them was more of a nuclear family, and well--it was just weird. I figured that it was just one of those shows that people watch for pure titillation, and as a result I pretty much wrote it off.

Well, one of my favorite blogs has been talking about Big Love a lot lately, and as a result my interest was peaked--especially since the show seemed to make for a lot of interesting discussion about women and feminism. So, I decided that I would give it another chance.

Boy, am I glad I did. In the last few weeks I've been plowing through the seasons. I'm currently about 5 episodes into season 3, and I can't wait to be caught up. Again, I was a little "iffy" about the characters at first. By the end, however, I was "iffy" about them in a completely new way. I am constantly conflicted by their actions, and their choices, and yet, I have come to really care about them--especially the wives. I was devastated in the season one finale, when Barb was disqualified from the "mother of the year" contest, and they were in danger of being "outed."

Nikki, in particular, is a fascinating character. I can't say that I "like" her, but I do care about her. The episode in season 3 where she sees herself in the "Joy Book" and breaks down is really powerful. Kudos to Chloe Sevigny. Bill's mom is another fave. What a character.

Bill, on the other hand, is fast approaching the top of my shit-list. I still can't get over the "double-standard" aspect of his relationship with the three wives. And his preoccupation with money and power is troubling, to say the least. I can definitely see him becoming more sinister in the next season.

Where in the hell is Lisa? Also, a new Dollhouse review

2010-02-11T16:25:00.000-08:00

Hey blog readers!

I am sorry that I've been so MIA lately. Chalk it up to my new internship. While it has been one of the best experiences of my life, it has kept me very busy. I really wanted to keep up with analyzing season 2 of Dollhouse as the episodes came out. But it seems like they flew by, and all I've had time to do is watch and say "wow."

It was quite a ride, though, wasn't it? If you want to read my thoughts (with a emphasis on girl/girl relationships in the Dollhouse), read my article HERE.

I can't make any promises, but I am definitely going to try to get on here more often.

We Can Be Who We Decide To Be: My Thoughts On 'The Left Hand'

2009-12-05T14:09:00.000-08:00

Warning: Spoilers for "The Left Hand," part one and two.

Well it finally happened--the two episodes that I've been waiting for for so long finally aired last night, and for the most part I absolutely adored them.

First of all, I must say that it was wonderful seeing Alexis and Eliza together again. Ever since season 4 of Angel, when Wesley and Faith pair up to capture Angelus--I've thought that these actors have amazing chemistry. Hell, I would have been happy if they'd just left and started their own The Adventures of Faith and Wesley show. Echo and Daniel Perrin are quite different characters, but again they seem to toe the line between enemy and ally, violence and sensuality. The scene where Perrin cuts the GPS strip from Echo's neck in the second hour is, in my opinion, possibly one of the most erotic scenes of the season--perhaps the show (Paul's dream sequence of Echo in the first season is the only other example I can think of. Despite my distaste for the Paul/Echo ship I have to admit that that was a hot scene). I guess, to me, there is something about being placed in such a vulnerable situation that is really sexy (and Eliza and Alexis with their shirts off don't hurt either).

Obviously the biggest surprise factor of the first episode is when we learn that Perrin is a doll. All the clues seemed to point to his wife being one, but in classic Whedon-style our expectations were completely subverted. I actually loved this. The idea that Perrin was this pedigreed party boy that is being used for an evil agenda hits rather close to home *coughGeorgeBushcough* and I think that it was a believable move on the part of Rossum. Moreover, the Perrin arc plays on classic Whedon themes of determinism (or destiny) and free will.

I was a little bit confused as to why Madeleine was suddenly eager to speak out against the Dollhouse, since she seemed to view the experience as positive when she was last speaking to Paul. Upon second viewing of the episode I can only conclude that she decided to do this after she was shown pictures of herself murdering someone. Which, by the way, was anyone else annoyed when Paul was watching the security tapes of that scene? He seemed to have no problem watching Mellie get beat on (not even a flinch) but he suddenly lost his stomach when she is turned and able to kick some ass of her own. Yeah, I'm guessing that doesn't really appeal to his damsel fetish (which is mocked heavily in this episode with the call and response handler/active dialogue between Perrin and Cindy). Paul did redeem himself slightly for me in this episode though during his last conversation with Madeleine. He recognizes her right to make her own choices. I liked that, even though her choice to testify against the Dollhouse ultimately landed her back in one. And not the warm, cuddly LA one either.

The DC Dollhouse seems to be much more nefarious than the LA branch. Run by Ray Wise (of Twin Peaks fame), the DC Dollhouse has a rather cold, sterile feeling to it. There are no ponds and plants. The programmer is none other than Summer Glau--who sports a dead arm and some pretty strange mannerisms. It becomes clear that Bennett (Glau) harbors some kind of grudge against Caroline, who was apparently her best friend. I think this story could have used a little more fleshing out. When Echo and Perrin are captured and brought back to the house, we get this intense torture scene where Bennett is taunting Echo about being an empty shell. Wouldn't it be more effective to torture Caroline, if that is who she is really mad at? Maybe she just didn't have the file? At any rate, I would have liked to have understood the circumstances behind that subplot more fully. I am not a fan of Caroline (she rubs me the wrong way in the same way Paul does) but I find it hard to believe--based on what we know about her--that she'd leave her best friend to die. Is this a false memory? Perhaps implanted by Rossum?

The moments where Bennett's character really comes to life are in her scenes with Topher. I loved watching the flirtation between them, and I loved that Topher was reminded of Claire Saunders when he saw Bennett's arm--and then assumed that she must be an ex-active because she was beautiful. The conversation about her librarian-esque qualities that the two Tophers had (how amazing was Enver in this episode!?) was particularly awesome.

I'm not sure why Bennett lets Perrin and Echo escape, but once they do they ultimately end up back at Perrin's home. He is activated by Bennett and begins to attack Echo. Luckily the two Tophers (hehe) figure out how to turn this off, but not before Perrin has killed Cindy. Apparently he can't live with the guilt, because in the next scene we see him at the hearing, and he states that there is no Dollhouse. Meanwhile, Echo is shown walking the streets by herself.

I don't know about you, but I cannot wait for next week!

Dollhouse Officially Owns A Piece Of My Heart: A Review Of 'Belonging'

2009-10-25T00:26:00.001-07:00

Spoilers for "Belonging."

I didn't have time to review last week's episode, so I will just say here that I enjoyed it immensely. Probably even more than "Vows" and "Instinct." The fourth episode of the second season, however, completely stole my heart. I literally wept like a baby while watching this episode, and that's saying something, since I am generally pretty ~~heartless~~ reserved in my emotional responses.

One of the key reasons I enjoyed this episode was that it finally answered the question of how Prya (Sierra) came to the Dollhouse. Ever since "Needs," I have been partially reserving my judgment of certain characters who work for the Dollhouse (particularly Adelle), and a lot of that had to do with the fact that I did not know whether or not they had had a hand in forcing Prya into being an active. In "Needs" we clearly see that she has been placed there against her will. It turns out that Adelle and Topher did not know the true reasons behind Prya coming to the Dollhouse, and it makes me like them more. Topher, especially, has become one of my favorite characters.

The episode starts with Topher covered in blood, muttering to himself: "I was just trying to help her." Before we can really think about what's going on the scene changes to Prya selling art in Venice beach. She is a free-spirited bohemian kinda gal, and when the creepy Nolan tries to pick up on her, she resists. However, she does agree to let him give a showing of her paintings. It turns out that Nolan has hired a bunch of Dolls to stage an elaborate seduction. Things start to go wrong for him, however, when Victor (playing an Italian art critic of some sort) starts chatting up his would-be conquest. Nolan interjects himself into the scene, and things turn dark pretty quickly when he won't let her leave.

Meanwhile, in the present day, we see Sierra running into his arms. Back at the Dollhouse, however, it is obvious that something is bothering her -- and Echo notices. Sierra's paintings all seem to feature a dark shape -- a mess of black paint that tarnishes her otherwise whimsical and pastel scenes. Echo takes the painting to Topher, claiming that it is the "bad man." Topher starts investigating, and realizes that Prya had been drugged when she'd been admitted to the Dollhouse. When Adelle finds out, she has a "conversation" with Nolan about it, which includes some of her best lines to date: "Given that you're a raping scumbag one tick shy of a murderer I can't recall, do you take sugar?" Olivia Williams seriously rocks this role.

Unfortunately, Nolan is a powerful man. He basically insures that Adelle will lose her job if she does not comply with his wish to have Prya imprinted and sent to him permanently. Adelle caves to the pressure, telling Topher that they have no choice. Topher's reaction is heartbreaking. You can literally see the realization in his eyes when Adelle tells him that he was "chosen" for the job due to his complete lack of morals. As I've predicted, his character arc is proving to be my favorite. He has two faces. One that he shows the world -- the geeky, snarky, devil-may-care persona, and the private one -- the one that apparently does want to help people. He had always thought that he'd been helping Prya. When he found her she was a paranoid schizophrenic. He thought that he was ending her pain.

His moral dilemma (a first, according to Boyd) ends badly. He imprints Prya with her real personality, and sends her to Nolan so that she can confront him. The scene that follows is powerful, and difficult to watch. One of the most disturbing aspects of it is that it touches on the subject of rape fantasies: "You know, this is a scenario I never thought of. You resisting. The struggle is a turn-on."

Chills. Down. My. Spine.

One only wonders if the Dolls have been hired out for these kinds of fantasies before. The whole "informed consent" angle of the show's premise has been dicey territory for many feminist viewers. But one thing has always been apparent. When imprinted, the Dolls do not experience this rape "traumatically." That is, they are programmed to enjoy it. It begs the question -- if one doesn't experience the trauma of rape, is it still rape? I think it is. But I also think that the traumatic aspect adds a new level of horror.

Fortunately (for my sanity, not for hers) Prya fights back, and she ends up stabbing Nolan (repeatedly). One of my favorite shots of the entire episode is when she stands, bloodied, in front of the bird painting -- a dark figure in front of the pastel lines. She has become the dark shape that she has feared.

Topher finds her, and Boyd soon shows up as well. Boyd orders Topher to cut the body up, so that they can disintegrate it in acid. The level of expertise that Boyd shows for this line of work is deeply unnerving, and one can't help but think of Shepherd Book from Firefly. There is definitely a past there that we don't know about. I pray that we do get to find out about it in future episodes.

After they clean the mess, they take Prya back to the Dollhouse. She asks Topher if the dolls are happy, something he admits he does not know. When she sees Victor, she declares that she is in love with him. When she asks Topher if that feeling is real, he says that it is, and that Victor loves her back. The sight of Victor sitting exactly where he said he would wait for her earlier in the episode made me weepy. They are just the cutest couple you could possibly ask for, and knowing Joss Whedon, it's all going to go horribly wrong.

Catching Up With Dollhouse (And Why To Keep Watching)

2009-10-09T04:00:00.000-07:00

Spoilers Ahead!

In case anybody didn't know (and let's face it, there are probably many people out there who didn't), season two of Dollhouse has started! And what a way to start! Vows may just be my favorite episode yet. And no, it's not just because Alexis Denisof was in it -- though that certainly does not hurt! Heh. The second episode of season two, Instinct -- while not as strong an episode as Vows -- is still a lot more engaging than most of the episodes in season one, despite a few hard to swallow plot points.

What really made Vows special, for me, were the scenes between Topher and Claire/Whiskey. Topher is a character that I initially didn't like, but during the last few episodes of season one he started to evolve -- at least in my opinion. First, there was the altruistic engagement that he programed Echo to go on involving an abused little girl. Then there was his disturbed behavior during the scene where Victor was downloaded with Mr. Dominic's personality. Finally, there was his aura of sadness in the last episode after being confronted by Claire. There is a sense that he is starting to question the morality of what he is doing. I never thought that he was a bad person, in the way that say, Warren on BtVS was. He is so caught up in the science of the Dollhouse that he doesn't think about its negative impact on people's lives. He is morally infantile. In the unaired 13th episode, however, we see him crushed under the weight of guilt. He has literally been driven insane by the consequences of the science he helped create.

In Vows, we see a progression toward that madness. Now that Claire knows she is "a fake," she has started making life a living hell for Topher -- messing with his imprint machines and putting rats in his cupboards. We can see him starting to crack. The most memorable scene is when Claire tries to seduce him, stating "This is the end game. You create someone to hate you, so you can convince them to love you." After refusing her advances, Topher reveals that he didn't program her to hate him -- she chose to do that herself. She then breaks down, and he asks her why she doesn't want to know who she used to be. She says "Because I don't want to die." This is clearly a mind-boggling moment for Topher, as he has probably never viewed his imprints as actual people. After all, if they are real people, then he is essentially murdering them every time he wipes them.

These are the kind of philosophical themes that make me love Joss Whedon's shows. In Dollhouse, specifically, there seems to be a recurring theme of nature vs. nurture -- of whether or not we are a product of our memories/experiences or if we have an innate personality, or soul. In Instinct, Adelle brings up the fact that babies need to feel loved, stating that otherwise they may grow up to be "sociopaths." The engagement of this episode is a bit far-fetched. Echo becomes a mother who has been changed on a glandular level (she is able to breastfeed) in order to take care of a widower's baby. Eliza gives an amazing performance, but I can't help wondering why the guy didn't just hire a nanny. Aside from that, though, it was an enjoyable episode. We get to see Madelene again, and she has an interesting conversation with Paul Ballard about losing her daughter.

So far, I'd say the second season is strong, and I love where it seems to be heading. There are so many stories that I want to see unravel. I want to know what's going to happen with Senator Perrin. Will he be able to penetrate the Dollhouse? What is going to happen to Whiskey? How did Sierra get into the Dollhouse in the first place? These things, I've heard, will be addressed in the rest of the season, if it survives. I sincerely hope it does!

Don't forget to tune in tonight at 9/8 central on FOX for the third episode. You can see some preview clips here. If you can't watch the episode live, then check it out on hulu, Fox.com, itunes, or amazon.

And make sure to check out this awesome fansite, whyiwatch.com

Attention, Dollhouse Fans!

2009-10-04T14:42:00.000-07:00

Dollhouse may be in trouble, due to low ratings. If we want to save our show, we need to ACT NOW.

The official promotion for season 2 has been virtually non-existent. I know some fans who hadn't even realized that it already started! There have been so few commercials, and the ones that DO air didn't even have the correct date!

So, it is left in our hands to get the word out about this show.

blank_dolls has a post with some awesome buttons and icons that say the date of the show. You should go check em out, they are really cute! It is a great way to get the word out and show your support! I'm using one here. Isn't it pretty?

Get your buttons and icons here.

House, Interrupted.

2009-09-27T23:32:00.000-07:00

I'll admit it: I've been waiting -- like a huge geek-- all summer for this episode. And for the most part I was not disappointed.

While the story of this episode is not particularly original, I thought that Hugh Laurie did an outstanding job. It is not often on House that he is able to portray any kind of poignant character development, but in Broken he gets more of the good stuff to work with, even while having less to work with (none of the other usual cast members are in this episode, save a brief appearance by Wilson.)

Apparently the writers had to completely break House down in order to build him back up again. While at Mayfield Psychiatric Hospital, we see him go through a painful detox (all in a montage, by the way -- which, yeah, a bit of a cop out. But at least it was a montage with Radiohead!) When House is done detoxing and decides to leave, the head psychiatrist -- Dr. Nolan -- tells him that he is not ready, and that if he does leave, said Dr. Nolan will not write him a recommendation to practice medicine. House sees this as blackmail (I think there was an inappropriate pun in there too) and decides to act out against the various psychiatrists and ward attendants.

The first hour of the two-hour episode is classic House, as far as his behavior. One remark, to a suicidal girl in the ward, bordered on cruelty: "So how disappointed were you when you woke up in the ER and you were still alive...and a loser."

However, somewhere along the way he begins to actually show some character growth, which I actually found extremely refreshing! I am not sure if they are going to keep building on this. My one complaint about House, as a series, is that the writers are not exceptionally talented at crafting complicated characters. A lot of what makes House great is Hugh Laurie. And yes, the character is extremely interesting -- perhaps due to his very archetypal nature. However, the writers never allow him to progress beyond a certain point.

As I stated already, the story here -- while clearly well executed -- is not very original. You may guess from the title of this review that I found a lot of similarities between this episode and Girl, Interrupted. In that film, Winona Ryder's character refuses to take her medication. Finally, after a tragedy takes place involving one of her fellow ward-mates, she decides that she wants to get better -- even though this new compliance earns her grief from some of the other patients that she has befriended. The exact same formula is played out in this episode. After House inadvertently causes one of the fellow patients to jump off of a building (he thought that he could fly) he sort of snaps. After this event he is compliant, and even goes on anti-depressants.

What I really enjoyed about this episode was the relationship between House and Dr. Nolan, and I hope that we see more of it in the future. I also really loved the mini-romance between House and Lydia (played by Franka Potente, of Run Lola Run fame.) There was something extremely sweet and innocent about their relationship, which is something I did not think House was capable of. This is leaving aside, of course, the fact that she is married. And since she is married, she inevitably leaves at the end of the episode -- dooming any further relationship. It is lovely while it lasts, though, and it is nice to see that House is capable of romantic emotions. Whether or not this experience is going to influence his relationship with Cuddy is yet to be seen. I think it would be a tricky balance to achieve, because House would not be as interesting if he were too "mushy."

All in all, I thought it was a good episode, and I am excited to see what happens next.

Emmy Reactions (Mine)

2009-09-21T17:15:00.000-07:00

Despite some bitter disappointments (I'll get to those in a second!) I have to say that Neil Patrick Harris did an outstanding job as host! He was literally made for that gig. In fact, if at all possible, I think he should win an Emmy Award next year for his night as host this year. The only real highlights of the entire night -- for me, at least -- were his opening number, and the "interruption" by Dr. Horrible. Here's a video of that awesome moment:

The "buffering" thing killed me. And just the fact that one of my geeky little interests got major play time on mainstream TV!? Cue fangirl moment.

However, I was very disappointed when NPH didn't take home the Emmy for best supporting actor in a comedy. He is PURE COMEDIC GOLD, people! I mean, yeah...that other guy was good as Ducky in Pretty in Pink. But come on! Rigged, I tell you. And of all the wonderful actors nominated for best actor in a drama series -- they gave it to the one person I could not give a flip about. I can't even remember his name now. I think I've repressed. I was REALLY hoping that it would go to Hugh Laurie. Especially since I've heard rumors that he is thinking of quitting House soon. Hopefully they are only rumors -- but I hear that walking with a limp on the show has left him with a hip problem of some sort.

Anyway...The House snubs were annoying to me. Especially since I am not a fan of Mad Men. I'm just so over that whole show. I might try to get into it again at some point. But meh. Whatever. At least tonight is the special 2-hour premeire of House's sixth season! Woot!

True Blood - Season Finale Review

2009-09-18T00:36:00.000-07:00

Spoilers Ahead, as per usual.

I have been terrible about keeping up with my True Blood reviews, I know. Blame it on the Summer Holiday! I did, however, watch the season finale. And I thought it was... Ok.

There were definitely good aspects -- like the level of suspense I felt when Sam was being offered up as a sacrifice by Mary Anne and her followers (really did not care for that storyline, BTW). Now, if they had killed my favorite belt-buckled shape-shifter, then I would have definitely hated the episode. But luckily he finds a way to shape shift into the very "God" that Mary Anne is trying to invoke, and proceeds to rip her heart out of her chest all violent and bloody-like. It's quite a spectacle... so I was confused when I looked at the clock and realized that the show was not even half-way over.

I was sooooooo glad to see this chick die. Goodbye, boring sub-plot.

After weeks of being teased with the whole Eric/Sookie storyline, we didn't get to see any interaction between the two of them. We did, however, see some of the aftermath of the fight between Hoyt and Jessica (another of my favorite characters!) After a chat with his mother (who was finally freed from Mary Anne's mind-control) and decides that she is, in fact, a bigot. He then goes to find Jessica and try to reconcile their relationship -- but it turns out that she is getting it on with some trucker. Then she bites said trucker, which makes me wonder if she's going to be evil in the next season. I hope not. I really loved her and Hoyt.

The most boring part of the episode, to me, was the ending with Sookie and Bill going to the French restaurant. I don't really get why Sookie was so emotional when he asked her to marry him. And why did it take going to the ladies room and trying on the ring to change her mind? It all seemed a bit simplistic to me. I was pretty relieved, however, when it turned out that Bill had been kidnapped while she was "freshening up." I really don't like it when characters get married. No way, no how. I would stop watching it instantly.

As it is... I will still tune in for season 3.

Cat Couture: Cute or Disturbing? You Decide

2009-09-18T00:06:00.000-07:00

Cat Clothing... I've considered the notion before, I'll admit. My parents' cat, Misi, looks so grumpy all the time that I've sometimes thought about how hilarious it would be to put her in a silly little outfit and take her picture. Of course there's no way she'd ever let anyone do that. You'd literally lose an eye if you tried.

Which makes me wonder how The Tailor of Cat Prin manages to get these cats to dress up in all sorts of crazy ensembles. The site, which details each outfit in endearingly broken English, sells an assortment of cat-wear -- such as The Young Lady Blouse and The Necktie Shirt. Or, if you are tired of having a cat you can change it into a bunny or a frog with the Hat of a Rabbit and Frog Transformation Set.

While the concept is pretty funny, and, ok, kinda cute -- I don't know many cats that would put up with shenanigans like this. Which makes me wonder if the cats in this instructional video are drugged or something. My favorite part of the video is when the creator says the idea for Cat Prin came to her from another dimension.

Quentin Tarantino Puts Brad Pitt's Penchant for Bad Accents to Good Use

2009-09-15T23:43:00.000-07:00

If you've ever seen Seven Years in Tibet, then you know that fake accents are not one of Brad Pitt's strong points when it comes to acting. His Austrian accent was downright laughable.

But luckily, that cheesy over-the-top quality fit his character perfectly in Quentin Tarantino's new film, Inglourious Basterds. In the film he plays an American who has rounded up a posse of bad-ass Jews out for revenge during the Third Reich. His Tennessee accent is hilarious, as well as his complete inability to speak in an Italian accent while undercover.

I have to admit, I was a little wary about seeing this film -- mostly because of Pitt. I am glad I went and saw it anyway, because it was pretty damn entertaining, and, amazingly, Pitt didn't annoy me once during the whole thing.

Oh, and did I mention that Mike Meyers is in it? Random much?

To Flee is to Live: Let the Right One In

2009-09-11T16:24:00.000-07:00

Some friends and I just rented this film the other night. I'd been meaning to see it for some time now -- especially since I read a very favorable review of it in Rolling Stone. I'm very glad I finally saw it! I have never seen a Swedish film about vampires before. I also love the idea of a mortal boy falling for a female vampire -- as it is usually the other way around.

The film starts out almost like Twilight in reverse (but with much more artistic camera angles and music). Oskar is a young boy who lives with his mother in what appears to be a kind of project apartment. He is shy, awkward, and picked on at school. When a new girl named Eli moves in to the apartment next to him, he becomes fascinated with her. But of course, in true modern-day vampire fashion, she repeatedly walks up to him and cryptically tells him that she is dangerous, and that they "cannot be friends."

Luckily, the "Edwardian Vamp Dialogue" ends there. Eventually Eli relents, and the two children become friends, though it is obvious that there is something strange about her. Oskar, being a bit of a detective himself, surely cannot miss it. But what becomes interesting is the fact that he doesn't seem to care whether or not she is a killer. Under the innocent veneer of white-blond hair he has his own darkness. He is obsessed with serial killers. He cuts news stories out and puts them in a book, chronicling their exploits. He stands in front of a mirror with a knife -- practicing his "revenge" on the children that hurt him at school.

Despite the gore, there is something really beautiful and honest about the relationship between these two. Perhaps this is because of their age, and perhaps because of its very transient, ephemeral nature. My favorite lines from the movie are part of a note that Eli gives to Oskar:

“To Flee is to Live. To Linger, Death.”

True Blood - The New Buffy?

2009-08-27T16:00:00.001-07:00

[Slight Spoilers For True Blood]

I've been thinking about this for a while now, especially since Eric started showing an interest (sexual or romantic, or both? It's not exactly clear yet) in Sookie. The Bill/Sookie/Eric triangle is not unlike the one involving Angel/Buffy/Spike.

One the one hand we have Bill Compton, a brooding vampire with a conscience. On the other we have Angel, the vampire with a soul -- working to redeem himself for his past wrongdoings. In True Blood Eric is the same kind of "bad boy with a secret sensitive center" kind of vamp that Spike was. Like Spike, he is deeply (if not romantically) connected to his maker, and develops an obsession with the "good girl."

At the center of the True Blood Triangle is Sookie, the blonde waitress with supernatural powers. She is a very Buffy-esque archetype; though she does not slay vampires and demons she has proven that despite her small stature and girly-girl sensibilities, she is one tough cookie.

Furthermore, the relationship between Bill and his maker, Lorena, seems very similar to that of Angel and Darla. He even states in one recent episode (during a flashback - where have we seen those before!?) that he only killed others to appease her, out of a sense of duty. It's Bill's conscience that drives him away from Lorena, just as Angel's soul was what made him leave Darla. Darla and Lorena are similarly ruthless, taking pleasure in "playing with their food."

Just some food for thought.

I should add, by the way, that while I like True Blood, I am infinitely more fond of Buffy and Angel, and therefore believe that nothing could ever take their place.

Epitaph One - A Review

2009-07-18T14:57:00.000-07:00

I know this is a bit behind schedule, as most everyone has seen the fabled 13th episode by now. But still, I wanted to weigh in with my thoughts. The most recurrent thought being, simply, "Guh." If you haven't seen Epitaph One, go to your local DVD store, or on Amazon.com, and buy Dollhouse Season One. Not only are there two unaired episodes -- the other being Echo, which I have already reviewed -- there are also loads of deleted scenes and interviews with Joss Whedon. A very well-crafted DVD set, if I say so myself (though I am curious as to the lack of a 'gag reel'...yeah, that would have been even better.)

Oh yes, and SPOILERS AHEAD...

I honestly was not expecting anything that happened in this episode. I kept myself fairly unspoiled... but I did know that it would be set in the future. I actually saw a few promo pics that included the regular cast members, and was wondering if it actually really was set in the future, or if that was a mislead. After all, if it were the future, wouldn't they have aged? Well, it turns out that the main characters come into play via flashbacks to the past (yet these events seem to come after the events we've seen in season one, for the most part.)

Is that Faith and Dark!Wesley from season four Angel? Nope, just a rogue Caroline and Paul in one of the flashback sequences.

Epitaph begins in Los Angeles, 2019. From the fire and chaos in the streets, it appears to be some kind of dystopian apocalypse. The first character we see is Mag, played by Whedon-fave Felicia Day (Dr. Horrible.) Along with Zone, a small girl named Iris, her father (who appears to be wiped) and two other rebels, they manage to break into the underground Dollhouse, seeking refuge from the "butchers" above. The world seems to have gone tech-crazy, and the threat of being wiped is ominous. One can only assume that the "Remote Wipe" that Alpha used on Echo in Gray Hour has been perfected and put to use by the nefarious, yet unseen, powers that be.

The episode takes on an element of horror when one of the rebels is murdered while taking a shower (apparently, it had been a year since her last shower -- though if you ask me, she didn't look all that dirty.) When the remaining team discovers a blank Whiskey (who actually hasn't aged...hmmm), they think that she's the killer, because she is acting kind of ominous. Obviously they soon find out that she is wiped, but they decide to spare her, because she says she knows the way to "safe haven." "Safe haven" is never really explained. But in order to know what it is, they need to download Caroline's personality and memories into Whiskey (who actually offers.)

I won't give away who the killer was, because it was kind of a nice twist. I know I put up a spoiler warning and everything, but I really do want you guys to buy the dvd! So I am going to end there ;)

Echo: Dollhouse's Unaired Pilot - A Review

2009-07-18T01:06:00.000-07:00

Warning: This review contains spoilers.

(This blog entry was linked on Whedonesque! Thank you!)

Tonight I watched the unaired pilot of Dollhouse, aptly titled Echo. Let me just say, for the record, that it was heart-stoppingly beautiful and noir-tastic. I can't help but wish that they'd originally aired this episode. We may have had a completely different experience with season one.

Echo has everything that we have come to expect from Joss Whedon: subversion of expectation (with Echo turning from 'damsel in distress' to cold-blooded hit-woman in the blink of an eye), suspense, philosophy, humanity and humor. Yes, you heard me right, humor -- that thing that was so glaringly absent from Ghost. I thought that Ghost was a good episode, but this was a great episode. It reminded me of those days when I was first watching Buffy -- when I would squeal if the credits said that the episode was "written and directed by Joss Whedon." It's special.

Echo on an "engagement."

Now that I have watched, I don't understand why people refer to this episode as jarring, or confusing -- or too dark. Now, I don't shy away from "dark" storytelling, but I wonder how this episode is "darker" than the aired pilot, which largely centers on a woman (well, an imprint) who was molested as a child. Is it the moral ambiguity of the main characters? Personally, I don't think that that makes it dark. I think that hiding the ambiguity is what made Ghost dark -- and unfortunately what turned many people off at the beginning of the season. I understood what Joss was trying to do, and so I put my faith in him. Unfortunately, I know many who didn't. They saw the prostitution aspect, but didn't think that it was duly addressed within the first few aired episodes.

Echo begins with the now famous scene of Echo underwater -- a scene that was later cut out and blended in with another episode. We hear Adelle speaking about the nature of the dolls, how they are "pure souls." All this exposition takes place because she is explaining the nature of the Dollhouse to a wealthy client.

The next scene shows a man in a bar, talking to a young woman. After listening to their conversation for a few seconds it becomes clear that he's some sort of pimp. The juxtaposition of this scene with the one before (where Adelle is basically "pimping" out one of the actives) is purposeful; for all of Adelle's philosophical chit chat about souls, and needs, and greater goods, when it comes down to it, she is a pimp.

Echo comes crashing into the bar and pistol-whips the pimp, eventually driving him out. She then urges the girl to leave the guy, and check herself into a hospital so she can detox.

We then see Echo on various engagements, from being a negotiator to a date. The date scene immediately follows the scene of her explaining the evils of being pimped out to the young woman in the bar -- again with the juxtaposition.

Without going into too detailed a synopsis, I will just say that my favorite scenes involve Echo and Paul. Paul discovers her in an abandoned warehouse, and she seems to be a classic damsel in distress. The whole scene is very noir, right down to her outfit. She tells him that she is looking for her sister, and, taking pity on her, he leads her back to his apartment. Kind of shady, right? Why wouldn't he take her to the station?

After a few faux fainting spells on her part, he realizes that she knows a little bit too much about the Dollhouse, and pulls a gun on her for the second time that night. But she's not a helpless victim -- and she proves it by snatching the gun and using some pretty awesome fighting moves on him. Eventually she shoots him, though he lives. When she finds out, she actually goes to the hospital to finish the job -- much to Boyd's dismay.

In the end, she doesn't finish the job, and it's the "why" that we're left with. After all, she was imprinted with the skills needed to carry out the job. Did she subconsciously fail at this engagement? What effect did seeing the photograph of herself have on her? The last scene is the same one that we saw at the end of the season finale -- that is, the scene of her laying down in her coffin-like pod and whispering "Caroline."

Which begs the question: Had this episode been aired, would Caroline's self-awareness have been explored more fully in the first season? In any case, it's definitely worth watching.

Pre-order Dollhouse Season One on DVD or Blu-ray.

A Timeless Masterpiece

2009-07-17T16:07:00.000-07:00

I just can't stop watching this "book trailer" for Sense and Sensibility and Sea Monsters -- brought to us by the same folks responsible for Pride and Prejudice and Zombies.

I wish they'd do one with vampires! How about Emma The Vampire Slayer? In between playing matchmaker to her friends and feeding the poor, Emma fights the good fight against the undead. Come on, how cool would it be for her to whip a stake out of her petticoat and kick some vampire ass?

Plot Twist - Frank Churchill turns out to be... dun, dun, dun... a vampire!

It's so perfect!

Emmy Nomination Reactions

2009-07-16T12:19:00.000-07:00

Family Guy is nominated for Best Comedy Series? Really?

I think Family Guy is OK. I love Stewie and the dog (whatever his name is.) However, as a long time fan of The Simpsons, I am appalled that Family Guy has beaten them to the Emmy nom for Best Comedy. I mean, for seriously!?

Family Guy wouldn't even exist if it weren't for The Simpsons. And while The Simpsons helped create the archetype of the oddly philosophical idiot with Homer Simpson, Family Guy fails to imitate with the obnoxiously idiotic Peter Griffin. Family Guy has other aspects to it that are entertaining and clever -- particularly the many musical numbers and spoofs. I guess I'm not really taking issue with the fact that it's nominated for Best Comedy -- merely the fact that The Simpsons have never been nominated for that category.

Just sayin'.

As far as the other categories go, I am very pleased to see House nominated, as well as Hugh Laurie for the title role. I know that he's already won, but I didn't watch the show back then -- so it doesn't count! By the way, in case you haven't seen the preview for the two-hour season six premier of House, here it is:

Looks SICK, no?

It's unfortunate that there are no Dollhouse nods. However, I wasn't really expecting them. Nor was I expecting any nominations for True Blood. Ah well. I'm not shocked about that either, considering how trashy the show is (it's truly one of my guilty pleasures.)

One thing I am very excited about? Neil Patrick Harris! I cannot wait to see him as the host. I am also delighted that Dr. Horrible's Sing-A-Long Blog got nominated for "Outstanding Special Class - Short-format Live-Action Entertainment Program." Phew! These categories are getting pretty long-winded these days, aren't they? They should just have a category called "Super Awesome Fantastic." Dr. Horrible would be the winner, hands down!

See a full list of the Emmy Noms here. rt-format Live-Action Entertainment Programs

What In The Slashy Heck?

2009-07-01T17:35:00.000-07:00

Hear that sound? That's the sound of Spike/Angel slash shippers "squeeing" uncontrollably.

(Spike and Angel finally realize their feelings for each other...Kind of.)

Today marked the Dark Horse Presents internet release of Always Darkest, a short Buffy Season Eight tale brought to us by Joss Whedon and the wonderful, talented, awesome Jo Chen. Seriously, I've always wondered what it would be like for Chen to illustrate the actual comic, instead of just the covers. It's everything you could hope for as far as representation of the characters -- not to mention gorgeous.

Though only three pages, this mini-comic raises a lot of questions about what's going on in Buffy's subconscious. It's pretty obvious from the second panel that we are witnessing either a flashback or a dream, as Caleb is the one doing the taunting. His first piece of dialogue, "You can't kill what's inside you," harkens back to the beginning arc of Season Eight, when Buffy dreams of kissing Xander, and Xander tells her that she "is the dark." Darkness is something that Buffy sees in herself. It's a part of being a slayer, and to an extent, a killer.

(Caleb reminds Buffy of the darkness inside her.)

It soon becomes super obvious that Buffy is having a dream when Spike and Angel show up. But instead of welcoming her with open arms, they are distant and aloof, and seem more keen on each other than having anything to do with her. Now, there is a lot of subtext to the Spike/Angel relationship on both Buffy the television show, and Angel. There's also a bit of canoninity (I may have just made that word up) to them as a pair. At one point, late in season five Angel, Spike says, "Angel and I were never intimate... except for that one--" at which point he is cut off by a monster attacking or something of the sort. Joss has even stated that it's likely they were together sexually at least once during their time together as vampires. After all, they may have been evil, but they weren't, as Joss points out, "closed-minded."

(Adorable, no?)

First off, before I get into a discussion about slash fanfic, I should say for the record that I have nothing against slash. I sometimes read slash fiction myself. I have long been interested, however, in why the bulk of M/M slash is written by heterosexual females. I've even asked a few fellow fandom friends and fanfic writers why this is. The answers I get are what trouble me, as they are usually about "power dynamics," and "equality." Namely, that equality is much more easily acheived between two characters if they are both male. This seems to imply that there is inherent inequality in all male/female relationships, which I find a bit depressing. The most depressing answers, however, are from women who just find female characters too boring to be part of the equation, or that they prefer writing slash fiction because female/male relationships just aren't as "profound."

Is the slash fiction phenomenon in fandom a symptom of internalized misogyny? Or am I reading too much into it? I'm open to discussion of course, and I am not saying that all slash fiction writers write slash for these reasons. Some just find it sexy, and there's nothing wrong with that.

(Poor Buffy.)

I wouldn't normally link "hints of slashyness" in a comic with misogyny, but the surrounding themes in this piece seem to do just that. The next page is rather baffling at first glance. We see Buffy getting married to none other than Warren Mears -- now skinless of course, as a result of being flayed by Willow. Buffy seems to be happy in her dream about marrying him. Between this and her feelings of "dirtiness" and being excluded from the Spike and Angel lovefest, it seems as if she's dealing with some unconscious feelings of self-hate, or at the very least, a lack of self-worth. Tara even makes an appearance, telling Buffy that she still blames the slayer for her untimely death at Warren's hands.

The end panel is funny, if not a little abrupt -- and certainly in keeping with Joss' work:

All in all, it was a fun read. I sincerely hope that Chen will someday illustrate a full issue!

Catching Up - True Blood

2009-06-30T22:47:00.000-07:00

Wow, it's been forever since my last post, you guys! I blame the cold I had last week. It was pretty bad. Plus my parents came to visit for a few days. I think they were the ones who gave me the cold. DAMN THEM!

Just kidding.

I have, however, been keeping up with True Blood, so I figure I should talk about it now, since that's kinda what I do here.

I'll start with episode two: Keep This Party Going. As usual, you are to be forewarned. There be spoilers ahead!

This episode started out a little slow, in my opinion, but it definitely gained momentum as the hour progressed. Luckily there were some straight-up, laugh-out-loud moments, like Eric shopping at Forever 21 (oooh, scary!) and that "I went on a date with Jesus" song the cult members were rocking out to. Oh, and who can possibly forget this line: "What the hell was the deal with you snapping the American flag in half, like you's some kinda Muslim Buffy with a dick? That's all kinds of messed up!"

Hahahaha. Oh yes. Yes it is.

I'm actually starting to like Jason's character a little more this season. Yeah, he's dumb as a doornail, but he does the whole "conflicted morality" thing pretty well. Am I the only one who thinks that actor would make a hell of a George W. Bush if they ever made another biopic? He could play the hell out of that role, with the perpetually confused expression and going along with what everyone else tells him to do. You can't quite hate him, because he's just so idiotic.

One thing that dismays me about both the last two episodes is that Sam's HAWT belt-buckle is conspicuously missing! Bro has untucked his shirt, and it's no where to be seen! This is a travesty, my friends! Sam's belt buckle is my favorite thing about this show!

(Looky what I found with google image search! Sam would totally wear this!)

After being teased with the possibility of Lafayette becoming a vampire at the end of episode two, we find out in Scratch My Back that he was simply fed on and dumped back into the dungeon. Luckily Sucky Stackedhouse gets mauled in the woods by some weird animal, and Bill is forced to take her to Fangtasia to be cured by some crazy lady that Eric knows, and she finds out about him being held against his will down there. After arguing for a while (I wasn't really paying attention to this part, I admit. I get bored when Sucky gets all rightious) Eric agrees to let Lafayette go in exchange for Sucky's keen investigation skillz.

Meanwhile, Sam is pissed because his new waitstaff isn't working out, Tara is still being hella boring with her newfound hedonism and feelings of self worth, (although it looks like she might be done with that shit soon) and Lil' Miss Vampire Jessica has starting dating a human. Aww. It's all very cute, until Papa Bill comes home and throws her across the room for making out with the guy. Pssh. He is such an ass.

Anyway, I'm hooked.

True Blood Season Two Premier: My Thoughts

2009-06-15T02:02:00.000-07:00

Well, True Blood is back... and I still can't stand Vampire Bill. However, the show is filled with too much over-the-top craziness to NOT watch.

The opening credits! How I missed them. Not only does the song rock, but the clips manage to illustrate everything about humanity that drives me insane, which is fitting. Let's face it - most of the characters on this show (with the exception of Tara, Sam, and Lafayette) are total douchebags. And yet, I can't get enough of it! WHY!?? Oh yeah, it's entertaining.

Let's start with Sookie (Sucky) and Bill. Here's a reenactment of their big scene from last night's episode:

Sucky: Oh Bill... I am angry that you betrayed me by killing my uncle, who molested me when I was a child. You've lied about some really big shit recently-- including killing a seventeen year-old and turning her into a vampire. Why can't you trust me? Does it have something to do with the fact that I'm a judgmental bitch?"

Bill: Oh Sucky! I will not apologize for who I am!"

Sucky: Ok! I forgive you! Forget the big dramatic scene that just happened. Let's just have sex now. Also, you can drink my blood, because being constantly anemic makes my brain work even better."

(Naughtiness ensues, because it's HBO, and they can do that.)

Thankfully, the total amount of Bill screen time wasn't so much, which gave the viewers time to catch up on the other characters.

Jason Stackhouse is still a dumb ass, and Dectective Andy is still belligerent. Sam's belt buckles are still strangely hot, and Tara-- oh, Tara. She's starting to be a little less awesome this season-- what with joining a cult and all. But I still like her. I just don't understand what is going on with the crazy lady who has become her new keeper. Every now and then it looks like she's having a seizure.

I guess we'll find out.

The best thing about last night's episode? LAFAYETTE isn't dead! Yay! He's just being held in some kind of dungeon by Eric The Vampire (who was tinting his Katie Couric hairdo.)

Overall, it was a very entertaining episode.

Calling All Language Geeks

2009-06-09T18:42:00.000-07:00

I just want to give a shout out to an awesome blog I've recently discovered - Separated By A Common Language. I have a few British friends, so it's kind of fun to look at all the differences between British English and American English.

For example, while I might say "I feel like crap today," they would probably say "I feel crap today," or so on. Apparently, we Americans love "like," and not just in the My So-Called Life kinda way (eg "Why are you like this? Like how you are!" - Angela Chase)

Why is this locker, like, so cold and uncomfortable?

There's also an interesting post on sarcasm and irony. The British are more likely to use sarcasm in a gentle way - as a kind of teasing, or "taking the piss" out of something (a phrase that would be looked at with raised eyebrows here in the states. I only know it from hearing it from friends and while watching British comedies.) Sarcasm, here, is more likely to be regarded as a bit hostile.

If you are planning on traveling to England, or living there for a time (for school, etc.) then you might find this blog to be very informative and fun.

Season Eight's Tales Of The Vampires - An Interesting Glimpse Into The Buffyverse's "New World Order"

2009-06-04T19:42:00.000-07:00

I have to say, I really enjoyed this issue. I thought the story pacing was just right, and I loved the artwork and colors used. Plus, the cover by Jo Chen? Just gorgeous.

I thought that that Tales did a great job of portraying the newly-altered universe of Buffy the Vampire Slayer; better, perhaps, than Harmonic Convergence, by Jane Espenson (though I love me some Jane, don't get me wrong!) While I enjoyed Harmonic Convergence, it felt rather rushed, and I did not come away with any clear sense of how the world of vampires and slayers had changed - though obviously something had changed drastically! To quickly recap HC - basically, the issue changed the nature of the slayerverse in that it brought vampires out into the public sphere. I know a lot of people who took issue with this, but I actually think it's a good idea. I never really bought into the fact that no one knew vampires existed except for Buffy and her gang. But while I like the idea of vampires in the public consciousness, the execution of this theme in Espenson's issue felt a bit cartoonish - which is not bad, per se...sometimes cartoonish works, but it didn't really work for me in terms of establishing a radically new theme/world. On it's own, I don't think this new issue would either, but as a follow up it made the newly changed slayerverse come to life a bit.

This issue does not include Buffy, or any of our main characters. And while there is nothing particularly compelling about Jacob - I think that maybe that's the point. He's just your typical emo kid, living in a small town and wanting to feel something - anything - that will make his life seem more meaningful. So of course, he hangs out with vampires. The metaphor for hanging with the "bad crowd" is a bit heavy-handed, but it plays out well here. Eventually Jacob is turned into a vampire himself, and ultimately he turns his friend Alex - who we find out is a slayer.

The interesting thing is that Alex didn't want to become a slayer. Or a vampire. She has no choice in any of these areas - though Jacob's last words in the issue are about his own power of choice in turning her. It's a grim, disturbing ending - implying that Alex's choice means nothing. But is Jacob's crime against her the only real evil here? What about the slayer spell that took her from the normal life that she wanted? Where was her right to consent in that? It's a lot of food for thought, and while it's fun to look at the spell Willow cast (a spell to make every potential slayer an actual slayer) as a kind of mass-women-empowerment-thingy, ultimately there are some problematic aspects to the whole scenario - the most obvious being, of course, choice.