![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
I should have been asleep seven hours ago:
I've something to say about the difference between creation and simulation but it's waaay too late/too early for that except to say the machine may dance but whose steps does it follow?
Weapons have always been beautiful. The mistake too many people make is to think that beauty - or even utility - negates its essential purpose: to do harm.
There's not much subtle about the image of Sarah Connor reaching into the fire to rescue Ellison or Cameron turning her back on the Russians but each goes to the heart of the characters - when everything is said and done, Sarah is a Big Damn Hero and Cameron is Not. Similarly, it's not that Sarah signed away her parental rights but that her next thought was she was going to get John back if it was the last thing she did. Nice use of T2 imagery and events throughout the ep from Cam getting up in motorcycle cop drag (it's close but Robert Patrick was prettier) to subtle touches like Sarah's hospital scrubs in the custody scene echoing Linda Hamilton's costuming in the film (different colours, though, this is a different timeline).
All the main cast were particularly strong this week in a very strong episode written by the brilliant Toni Graphia (ROSWELL, BATTLESTAR GALACTICA, CARNIVALE) but Thomas Dekker and Lena Headey stood out in their scenes together and separately. I flat out adore Lena Headey and her work as Sarah Connor but I'm not entirely sold on the Pescadero scenes only because they call to mind Linda Hamilton's most intense work in T2 and the impact of 40 feet of snarling maternal rage launched at you on a movie screen cannot be matched by my 12-inch laptop display. I am sorry that if they were going to show us Sarah in Pescadero, we didn't get to see her stab Silberman in the knee with his own pen but I suppose they have to leave one or two goodies behind for the next 12 or 13 seasons. I liked the stack of videos and files in Ellison's apartment and the potential for further opportunities for John or Cameron or Derek to learn about Sarah's incarceration.
The heart of the episode is the scene between Sarah and John in his bedroom where she admits she might have "oversold" how angry she was with him when he came to break her out of Pescadero. Seeing your parents as human and flawed is a necessary step towards adulthood but I'm worried that John's going to take the wrong lesson and focus on the fact that she broke and not that she got up again.
I've something to say about the difference between creation and simulation but it's waaay too late/too early for that except to say the machine may dance but whose steps does it follow?
Weapons have always been beautiful. The mistake too many people make is to think that beauty - or even utility - negates its essential purpose: to do harm.
There's not much subtle about the image of Sarah Connor reaching into the fire to rescue Ellison or Cameron turning her back on the Russians but each goes to the heart of the characters - when everything is said and done, Sarah is a Big Damn Hero and Cameron is Not. Similarly, it's not that Sarah signed away her parental rights but that her next thought was she was going to get John back if it was the last thing she did. Nice use of T2 imagery and events throughout the ep from Cam getting up in motorcycle cop drag (it's close but Robert Patrick was prettier) to subtle touches like Sarah's hospital scrubs in the custody scene echoing Linda Hamilton's costuming in the film (different colours, though, this is a different timeline).
All the main cast were particularly strong this week in a very strong episode written by the brilliant Toni Graphia (ROSWELL, BATTLESTAR GALACTICA, CARNIVALE) but Thomas Dekker and Lena Headey stood out in their scenes together and separately. I flat out adore Lena Headey and her work as Sarah Connor but I'm not entirely sold on the Pescadero scenes only because they call to mind Linda Hamilton's most intense work in T2 and the impact of 40 feet of snarling maternal rage launched at you on a movie screen cannot be matched by my 12-inch laptop display. I am sorry that if they were going to show us Sarah in Pescadero, we didn't get to see her stab Silberman in the knee with his own pen but I suppose they have to leave one or two goodies behind for the next 12 or 13 seasons. I liked the stack of videos and files in Ellison's apartment and the potential for further opportunities for John or Cameron or Derek to learn about Sarah's incarceration.
The heart of the episode is the scene between Sarah and John in his bedroom where she admits she might have "oversold" how angry she was with him when he came to break her out of Pescadero. Seeing your parents as human and flawed is a necessary step towards adulthood but I'm worried that John's going to take the wrong lesson and focus on the fact that she broke and not that she got up again.