The First Evil (asta77) wrote,
The First Evil

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The Week in Review

It's been a week since my last post. Miss me? ;) I took a few days of LJ down time after BSG finale weekend. The sheer volume of discussion became draining. Though whether you loved or hated it, I find the discussion it's created fascinating. I still have few discussions bookmarked to catch up on. I'll probably do another post myself down the road after rewatching 'Daybreak' and, hopefully, after I'm able to make all the thoughts swimming in my head coherent to me. I have several contradicting feelings right now. I also have podcasts to listen to and a fic to begin.

I feel I need to mention the fic to motivate myself (or have you all motivate me) to start typing up the damn thing. beccatoria has been my sounding board the last couple weeks. This is an idea I've had since 'Crossroads' (yes, that long). I was beating myself up for procrastinating on starting it, but now I believe the long wait has worked to my advantage. I've gone from fretting how I would deal with certain aspects of the story, and not knowing how or where to end it, to conceiving it as a revisionist version of Season 4. But it's also a little scary to go from what I conceived as just a Lee/Laura fic to something a little more gen.

I've also caught up on quite the backlog of TV this week.


I like the characters, but the writing continues to be problematic. If the original L&O's intent was to mimic a docudrama, the UK version tends to veer towards melodrama. In 'Unsafe', if the murderer, Luke Slade, had had a mustache I would have expected to see him twirl it. And James Steel, as the lead prosecutor, becomes far too emotionally involved in his cases.

Most of the significant problems seem to take place on the courtroom side of things. I know every TV series and film that has a courtroom setting takes some liberties as to how a case would actually unfold. Real court cases lack drama. But LOUK is pushing the bounds of believability. In 'Bureid', I was waiting for someone to raise an objection, repeatedly. Both Steel and the defense attorney were presenting their arguments and not asking a single question. Or maybe this is acceptable in a UK court? And, in the US, once a defendant starts to confess on the stand the judge would call for a recess.

Other than that, I don't have much to say about the series. Jamie continues to look amazing and I'll watch as long as he is part of the series.


Another show I wouldn't be watching if not for the lead. I love Rick Castle. The character has been developed far more and far better than I hoped. I love his relationship with Alexis. I love that Alexis is a good kid. Not every teen is drinking, doing drugs, and having sex. And I really love that she wanted her dad to chaperon her trip. That sort of blew my mind. But it's clear that she adores her dad and wants to spend time with him, which is cool. (While I admire Alexis's portrayal, overall, her teary confession about jumping a turnstile was ridiculous.)

I'm enjoying the pop culture references. How many shows would use Highlander as a comparison? Of course, with Rob Bowman of X-Files fame as one of the people behind the show, it makes sense to me.

What I do have problems with is the procedural stuff. Castle isn't just observing, he's interrogating suspects. A mystery writer eliciting a confession from a teenager is NOT going to hold up in court. Especially with the high priced attorneys the boy's family will be hiring. Rick and Kate should not have been so proud of themselves.

There were also far too many turns in the case. I suspect the writers thought they were being clever with all the changes in course during the investigation, but I just found it confusing and a sign that the detectives weren't all that good at their jobs. And if the mystery writer wasn't around, would the wrong guy have gone to jail for life?


Maybe there are some interesting ideas being presented by Joss. For instance, Paul turns out to be no better than the people he is trying to take down. All he has is a picture and a name, but he's fallen for Caroline, or, more precisely, the Caroline he has created in his imagination. Problem is, he doesn't see it, not even when the obviousness of it is pointed out to him. I thought I could like Paul, but he's as unlikable as the rest of the characters to me now. In fact, every single character elicits from me either feelings of apathy or loathing.

And as I commented to danceswithwords, I can't recall ever watching a TV show that made me physically ill. I was already having trouble dealing with a series that is based on characters being violated both physically and psychologically each week in the performance of their jobs. Now, we find out that while inactive Sierra is being raped. Considering she has the mind of a six year old, it makes it all the more abhorrent. I know some will argue that we are supposed to be horrified, we're suppose to think about the implications, but I didn't see the point of any of it other than to tell us the evil business is really evil. Sierra gets her mind wiped further and the man who raped her is killed, not because of his guilt, but because he was interfering with the business.

There may be some grand labyrinthine plot that will turn out to be fabulous, but I think Joss has reached a point where he believes he's more clever than he actually is. Mellie's reveal as an active was guessed by numerous people after the first episode. And, oh, gee, she was made into the person Paul wanted her to be/needed her to be and Paul didn't know how close he really was to the Dollhouse! And the mole inside the Dollhouse would appear to be Amy Acker's character, but we'll probably find out it's the skeevy Topher and the skeeviness is all an act.

Yeah, I'm done with the show.


John's reveal that he discovered long ago Riley was not who she claimed to be, knew of her connection to Jesse, and Jesse's connection to Derek puts a whole new spin on almost all of the season. As does his killing that man at the end of last season. John Connor is not a boy any more, he's a man. More significantly, he's John Connor of the future. John's coming to trust Cameron, the machine, as much, if not more so, than his friends and family. He carries a gun. He's making the call as to whether someone will live or die. And, in Jesse's case, he allows her to live as a punishment. She destroyed a part of herself in the process of destroying Riley and is left with the knowledge that her plan would have failed even if had come to fruition.

I can't say I was anymore sympathetic to Jesse after 'The Last Voyage', but I certainly understood her motivations better. She not only felt a sense of personal betrayal by John, she truly believed he was becoming more and more a servant to the machines. Who was listening to who? John didn't even seem to be allowing for direct contact with the people he was supposedly trying to save. And why would he seek out an alliance with the liquid metal, a seemingly indestructible machine? Jesse, like so many others, had put her faith in John Connor, a man who seemed to be losing his humanity.

I'm not convinced that Jesse merely wanted to eliminate Cameron. I think she wanted Cameron out of the way so she could take out John herself. End the war now as she told Derek, believing John was not to be their savior in the future.

I suspect Jesse isn't dead. If only because Derek didn't have adequate time to get rid of a body.

I'm not entirely sure how to read Derek's comment to Jesse that she was not the person he loved. Does he believe the timeline has been altered so much that Jesse that came back in time was not the Jesse he knew? Or that what happened to her after he was sent back changed her from the person he knew? Or that he really never knew her at all? Or maybe it doesn't matter, the point is the Jesse he loved is dead and gone to him.

Cameron continues to have a unique way of extrapolating human behavior and trying to form connections. She tells Derek about the child he lost, believing it will provide greater understanding to him as to what Sarah is feeling. I'm not sure if John died he'd feel the loss any less profoundly than Sarah would. Even John expresses to Jesse that they are the only two people Derek feels he has in the world. But Cameron's reveal does have the unexpected consequence of bringing Derek closer to her. Derek sees that on some level Cameron understands the importance of family and how the news would affect him. He even goes so far to thank her for telling him. Derek thanked her. That is huge.

A short time later, when she rescues Derek and receives some unexpressed gratitude for doing so, she reveals yet another bombshell. She feared he would reveal John's location under torture, Derek states that would never happen, but Cameron tells him that it has before. Something did happen in the basement that Derek is completely unaware of.

It would seem we now have two groups or individuals John and Co. need to worry about. John Henry has a 'brother' who already seems to be out in the world via the internet. It is the creation of Myles Dyson. But is it a continuation of a program developed before his death or did he survive the explosion and has he been working on rebuilding Skynet, perhaps willing, perhaps unwillingly, all these years? The fact they are using a photo of a recognizable actor makes me believe we'll be seeing Myles in the flesh before season's end.

And is Catherine possibly the escaped liquid metal we saw? Or was it carrying a message from Catherine? Did John try to reach out to her/it because of knowledge of what it managed to accomplish in the past? Is Catherine a creation of Skynet that traveled back in time to create her own empire and liquid metal terminators to defeat Skynet? Does John reach out to her because they share a mutual enemy?


I think I may be done with this show. The writers have been dumbing down Dani all season and it hit a low at the end of this episode. After weeks spent with the FBI (if it was even the FBI) who were attempting to get her to turn against Charlie, she believed they would take her refusal so easily and reassign her to another job in a matter of hours? And she actually got into a black van with a bunch of men dressed in black suits who she had never met before? I understand the need to accommodate Sarah Shahi's pregnancy, but the only solution the writers could come up with is for her to be kidnapped? To become a victim???

Add to to the mix a poorly conceived and extremely uninteresting new partner and the Ted subplot that was ridiculous on so many levels and I'm just paralyzed with not caring.

I decided to give Kings another shot last Sunday after being lukewarm on the pilot. I did find myself enjoying it more, but it struck me one problem I'm having with the series is the actor who plays David. He's not terrible, but I don't find him particularly interesting and considering he's pivotal to the story that's an issue.

A couple of links:

Several days ago, Ron Moore responded to some questions posed by the fans at the SciFi Forum. I hear the thread has gotten rather long now, but I believe the pertinent stuff is only on the first three or four pages. If you are still rageful about the finale, you may not wish to read his thoughts. Even I found some of his answers frustrating. But apparently my interpretation of Lee's scenes was pretty dead on. ;)

And Jamie appeared on Sky 1's Soccer Am yesterday morning. He didn't talk about the finale and, oddly, the show played a clip from 'The Captain's Hand', but between the 4 and 5 minute mark he does take some shots at Dirk Benedict which I'm sure some of you will enjoy seeing. :) The direct link is HERE.
Tags: battlestar galactica s4.5, castle, jamie, l&o uk, life, tscc
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