lifeonqueen (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
lifeonqueen) wrote2008-02-07 05:24 am
lifeonqueen) wrote2008-02-07 05:24 am
Entry tags:
Adventures in Editing and Anvils
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TERMINATOR: THE SARAH CONNOR CHRONICLES - I read somewhere that when the writers went on strike, TSCC had only "locked" (completed editing) the first couple of episodes, which is a possible explanation for the lack of crispness in these last two episodes. The tone and pacing seem a bit off and, in last night's episode particularly, I felt like there was a story beat or two missing and/or bobbled, particularly some of Summer Glau's dialogue which came off as painfully-on-the-nose rather than emotionally clueless, which is how I assume her robot character is meant to appear. Also, the B and C storylines ("Cromartie"'s repairs and Agent Ellison's (HA!) investigation) seemed particularly divorced from Sarah's this episode so that the episode actually lost tension when those stories were onscreen. That said, robot and henchperson ass was satisfactorily kicked and there was a bonus weiner dog reference (Hi, J!) that was especially funny given the way Lena Headey's US accent failed under the weight of "Dachshund". (B-)
However, the people complaining that she's not buff enough to be Sarah Connor might want to step off given the fearsomeness of her right cross.
TORCHWOOD - a more uneven episode than TSCC, fluctuating between awesome (Gwen and Rhys) and histrionic (Gwen and Jack) and eyeroll (Jack and the alien). Really, writers, you don't have to work so hard - John Barrowman and Eve Myles have plenty of chemistry all on their own, enough with the anvils, already (but congratulations on discovering Ianto, nice work, don't overdo it now). And while we're at it, dear music supervisor, don't make me come over there and throttle the orchestra: less is more, okay? Otherwise, in terms of character and themes, the writing is already noticeably tighter than last season. I am curious where they're headed with this exploration of the cost of living a double life but I suspect the answer is nowhere good. Meanwhile, yay! Rhys (oh, cute!) but I found it hard to empathize with the alien - sentience is a tricky idea for an audience to conceptualize in the abstract so unless you're going to give us concrete examples, steer clear and let emotion do the job emotion is designed to do. (B)
Finally, Jack, please decide which of your team you want to screw (over).
TERMINATOR: THE SARAH CONNOR CHRONICLES - I read somewhere that when the writers went on strike, TSCC had only "locked" (completed editing) the first couple of episodes, which is a possible explanation for the lack of crispness in these last two episodes. The tone and pacing seem a bit off and, in last night's episode particularly, I felt like there was a story beat or two missing and/or bobbled, particularly some of Summer Glau's dialogue which came off as painfully-on-the-nose rather than emotionally clueless, which is how I assume her robot character is meant to appear. Also, the B and C storylines ("Cromartie"'s repairs and Agent Ellison's (HA!) investigation) seemed particularly divorced from Sarah's this episode so that the episode actually lost tension when those stories were onscreen. That said, robot and henchperson ass was satisfactorily kicked and there was a bonus weiner dog reference (Hi, J!) that was especially funny given the way Lena Headey's US accent failed under the weight of "Dachshund". (B-)
However, the people complaining that she's not buff enough to be Sarah Connor might want to step off given the fearsomeness of her right cross.
TORCHWOOD - a more uneven episode than TSCC, fluctuating between awesome (Gwen and Rhys) and histrionic (Gwen and Jack) and eyeroll (Jack and the alien). Really, writers, you don't have to work so hard - John Barrowman and Eve Myles have plenty of chemistry all on their own, enough with the anvils, already (but congratulations on discovering Ianto, nice work, don't overdo it now). And while we're at it, dear music supervisor, don't make me come over there and throttle the orchestra: less is more, okay? Otherwise, in terms of character and themes, the writing is already noticeably tighter than last season. I am curious where they're headed with this exploration of the cost of living a double life but I suspect the answer is nowhere good. Meanwhile, yay! Rhys (oh, cute!) but I found it hard to empathize with the alien - sentience is a tricky idea for an audience to conceptualize in the abstract so unless you're going to give us concrete examples, steer clear and let emotion do the job emotion is designed to do. (B)
Finally, Jack, please decide which of your team you want to screw (over).