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Finally got my hands on the Glee concert movie, which turned out incredibly disappointing. Will someone explain to me why we are talking to the fans? Especially the girl I like to call Fandom Walking, who may be the most embarrassing person I have ever seen in my life. This is why we don't talk about fandom in polite company. This is the sort of thing that makes me seriously consider locking my journal down.


And why did we have to follow their narrative threads at all? How is this even slightly relevant to the concert, aside from the fact that they attended? People do not pay money to watch the audience at a concert, just FYI. I really don't think you would have gone wrong by just providing the concert-going experience on DVD, since even the people who went had 98% terrible seats (that's just a fact of any venue larger than a school auditorium) and a filmed version would have been a completely different experience. 

Performance-wise, most of the songs were bland, so many of them SO bland that they were songs I didn't even know existed, having skipped them on the show. I liked a few things -- Don't Stop Believin', Sing, Jessie's Girl, Firework, Safety Dance, that tiny clip of Lucky, Forget You, Loser Like Me and Somebody to Love -- but by far the worst part was "I'm A Slave 4 U." I just wanted her to put some clothes on. It was a very depressing thing to watch.

(almost) All is forgiven for the exquisite Warblers sequence, though. This is the most I have ever heard of "Teenage Dream" in any version. Damn you, dapper Blaine Warbler.

TOTALLY UNRELATEDLY: While I am behind a Glee cut... I took in just enough spoilers about tonight's episode prior to cutting myself off on Sunday that I am a wild mess of fear and apprehension about the "shocking" things. I am boldly Making A Statement in hopes that it looks silly tomorrow: if the New Directions somehow lose Regionals because you've decided you don't have time to deal with Nationals in addition to all the graduation storylines and/or you don't want to become formulaic, heads will roll. Cause this is Thriller.
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House, 8x13, "Man of the House"
January 2011: all right, everyone, Jake Weber just became available for wide release. Let's make him a household name, or at least really good at Guest Star Roulette.

FINALLY.

And his name is still Joe! AND he's hooked up with Rena Sofer?? This is too ridiculous in all the best ways. I am beginning to suspect Allison's husband did not really die in a plane crash, but just fled into his secret other life.

I seriously cannot get over how his name was Joe. Medium was a big fan of the hospital setting, to be fair, but they left Joe out of it, so my brain is very happy that it does not have to work at all to transpose this, except to quietly Memoryshop the patient's wife out of it -- and even then, only when she is saying or doing wife-like things. Beyond that, I can just pretend she happened to bring him in and is waiting until his family arrives. Basically: TPTB, YOU GUYS ARE THE BEST THIS WEEK.

It was one of those rare perfect storms where an ideal patient of the week dovetailed with a fantastic personal plotline, too. I have...not exactly missed Dominika, but got a kick out of seeing her again since Cuddy disappeared into the wild blue yonder and I surgically removed the part of my heart that misses that relationship so it would stop hurting. Loved their elaborate scheme to fool Immigration. House is weirdly and wonderfully convincing as a husband, so much so that I am happy to keep going with this as long as needed. And I very much loved Wilson sighing and roping himself into it, although I stopped being able to watch as soon as he added a terrible accent. AND our Immigration agent is Detective Ortega? Just fantastic.
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Gossip Girl, 5x16, "Cross Rhodes"
a) Still don't entirely understand the Charlie Rhodes story, but it sounded like they were really trying to explain a lot, so I think I'm satisfied for now. This continues to be a surprisingly big draw for me, storyline-wise (and not just because Lola went home with Nate. I have no idea what this means and I don't care, as I have no morals when it comes to this show). During my first episode I really couldn't see for the life of me why we bothered giving any of the parents scenes, but Rufus has rapidly grown on me, and by extension, Serena's mother is getting there now too.

b) Not really doing much to convince me that Chuck is not a horrible, repulsive human being. Is the Chuck/Blair draw supposed to be the fact that he's a horrible person, but you get all a-twitter because Blair tempers that part of him and/or he changes for her and her alone? Because...I feel like there's a place in my fandom history where I was into that trope, but I don't know when or where, and furthermore, that's irrelevant because no one has ever been as awful as Chuck Bass, NO ONE.

c) It did amuse me when Dan showed up to smirk about how he's not competing, he's winning.

d) IN RELEVANT NEWS, I continue to sit back and kick up my heels for joy as Dan/Blair unfolds in extraordinarily perfect ways. I don't know when making out became an acceptable activity on my ship list, but I am just all over it for these two. The more physical they are, the more it feels like actively crushing the notion of Chuck. At the theater rehearsal? That is some epic kissing right there. I would vote for it in contests. I would vote for it over the meaning-laden chaste peck at the end, that's how fast I have been sucked into this vortex. I am a giddy loon, spoiled to the gills because I didn't even have to wait for this! ZERO WAITING ON MY END. I get to enjoy it in real time and didn't have to pay those awful-sounding dues of up to 4.5 years that the rest of fandom did (how did you even live). This is the nicest fandom surprise since joining The Office.

Also, I really really liked Dan's general annoyance with her antics and "I don't want to be your friend" in the first half, and the "Dan loves me for me" realization dawning on Blair's face. It seems novel for this show, despite the fact that this is how most of the OTPs on all my other shows go. Aaaand...now I have found the promo pics for 5x20 and am busy making up wonderful stories in my head. 'Night.
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PLL, 2x21
Part I: I've skipped it for the past few weeks, given the lack of Toby and boring news on the Ezria front, but tonight I briefly popped in during the live airing. Just in time to see Aria in tears as he got out of the car, prompting an "EZRA, WHAT HAVE YOU DONE." The answer is not as devastating as feared (apparently I have no actual feelings of caring about whether he stays or goes), but boy, I loved Aria crying her heart out at home. Poor little heartbroken thing.

But then there's the end! My favorite part in the entire episode, which I admittedly only saw like 15 minutes of, is the strangled sound he makes when he opens up the door to Unexpected Ella. XD Can't stop replaying it. I am both cautiously optimistic and fascinated by the potential for this scene to finish up in the next episode, and want to know why we can't get a little of this understanding to spread to Cate Cassidy. This looks like how I want the delicate nature of their relationship dealt with.

Part II: WHAT IS A TOBY? Because clearly, I do not need him at all if Wren is going to be around providing identical cutesy times. Smitten Wren is adorable. Drunk Spencer is kind of delightful with her shirt-unbuttoning, hair-playing ways, and I was weirdly interested in a drunken hookup, despite the whole "this seems incredibly wrong given the age difference and her being a minor" aspect (age of consent is irrelevant. It's squicky when I want it to be). But of course, "Not like this" is always better. In that special TV White Knight way you are dubious ever actually happens in real life.

Let's just put it this way: I was super, super into them kissing. This is the first time scenes have gotten replay out of me in a long time. More making out in the future, please. Because I'm pretty sure even Toby isn't allowed to get overly demonstrative when I'm watching, but with Wren, I am ALL FOR IT. She says, despite the alarm that flared up Sober Spencer started leaning him back on the couch. But then like two seconds later I slumped in disappointment when she got up, sooooo... I like to think that what sealed it for me was the really cute laugh after her drunken self dramatically fell over the back of the couch. It made it more than just a hormone-fueled one-off.

Not that her sleeping on his couch overnight with offers to do so again hurt matters at all.

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Castle, 4x16, "Linchpin"
*mulls* Kind of a letdown, overall, with way too much CIA, so let's pull out the tiny things that made it sparkle (and one or two that cast a pall):

a) The escape from the sinking car, except...hey, you can't skip the actual escape part! That's the best part!

b) The morgue scene was by far the best, and will never not be hysterical, between jealous!Beckett crabbing "Sleep with whoever you want! The more the merrier!" and Alexis clearing her throat. Followed by Beckett's face. And better yet, Castle's face. Awkward workplace times for the win.

c) Enjoyed Alexis' followup at home, too, but mostly could not stop staring at her gorgeous waist length hair. It seems that after the trainwreck that was Sofia Vassilieva, I have finally found my replacement 'hair'oine.

d) "She's different." I did not know you could say so much with two little words.

e) When they uncovered the giant 3-D map of conspiracy crazy, all I could think was, "We need Charlie Eppes here. Now. Now. Math would make sense of all of this." Also, you know the drill...I expect fandom to be all over WWIII AU fics now.

f) A negative: I do not appreciate your incredibly ham-fisted meta about why Castle & Beckett aren't together yet. Apparently we were supposed to dismiss that, considering its source, but I can't. It was really obnoxious with entirely too much truth, so instead of letting it go I've just been chewing on it and grumbling for the past few hours.

g) Sophia kicking Beckett to make her drop to her knees. That seemed unnecessarily petty. Intriguing.

f) The way Beckett screamed when the gun went off. That is right up there with point D in the "subtle yet wonderful" Feelings department.

g) Loved the tiny shoulder bump at the end. Have been moping sadly of late that Beckett is not a hugger except under extreme duress, but I talked myself into believing that it just means any gestures she does make are that much more significant. She doesn't have impulsive reasons to grab his hand and draw circles on it. She has this, these "things I'll never say" stand-ins, and for now they have to be enough.

Next Monday: I refuse to believe this is an actual case as opposed to a crossover with Grimm and/or Once Upon a Time. All "real world" explanations will be chalked up to a fast cover-up job because fairy tale deaths are meant to stay secret.

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