Tag Archives: Observations from the couch

Stray thoughts on The Defenders

  • I haven’t yet seen Luke Cage, but I think I need to. I get the impression that under the invulnerable skin is a soft, gooey center.
  • Colleen is right, Danny. You are not a businessman. Also, don’t call a meeting with the bad guys to tell them you’re going to destroy them; skip ahead to the destroying.
  • Alexandra is one of those “ooh, look how cultured I am!” baddies. When she’s not plotting evil, she always seems to be listening to chamber music or eating in swanky restaurants. And her veiled references to her immortality are also showing off about how cultured she is–she ate this dish in Constantinople! She knew Brahms before he was cool!
  • Speaking of that restaurant scene… I definitely had the “Istanbul not Constantinople” song in my head afterwards.
  • Also, more than once someone said “You know nothing” and I mentally filled in “…Jon Snow.”
  • When Matt says to Elektra “There is goodness in you. I know because I’ve felt it,” I don’t think the reaction the writers wanted was “Matt, your ex is Darth Vader.”

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Slight, vague spoilers for Arrow‘s midseason finale

Apart from the creepy choir music tipping me off, I should have known something was about to go wrong when we saw Felicity and Oliver talking in the car. When two characters on a drama have a conversation in the back of a car, they’re not going to reach their destination without some kind of trouble. (With the exception of Supernatural, where the characters spend so much time in their car that it’s nearly a character in itself.)

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Season finale roundup

At the end of the TV season, I thought I’d give my takes on all the season finales I’ve been watching. Appropriately, the theme of these reviews turned out to be “Sorry to See You Go”.

Spoilers below the cut. It’s hard to review a season finale without them. Continue reading

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One for the introverts

On watching the Jonathan Strange and Mr Norrell miniseries:

Norrell is often an unsympathetic character: callous, selfish, paranoid, ill-tempered, and any number of other disagreeable qualities. But there’s a scene in the first episode where he’s at a noisy party, and he pushes his way through a crowd of people he doesn’t know to find a quiet room. He takes a book off the shelf, and breathes in the scent of the pages before starting to read. It’s just a little moment, but for those few seconds I found myself in complete empathy with him.

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The theme song is ridiculously catchy, though.

Ah, TV is back from midseason break! And how things have changed since the season began. Rereading a post from back in September, I said that I was “enjoying Gotham, interested in Forever, dubious about Selfie” … and I’ve now done a 180 on all of those opinions. I stand by The Flash as my favorite new show of the fall, though. Looking ahead, I’m excited for the final season of Justified, and I have high hopes for Agent Carter and Better Call Saul. But for now, let’s talk about another new midseason show: Galavant.

There’s a show with the same premise as Galavant that I could be really into, but Galavant is probably not going to be that show. The main problem, I think, is that it’s just not very funny; I could forgive the show a lot if it consistently made me laugh. But the real disappointment is that Galavant seems more interested in playing out fantasy tropes than subverting or parodying them. (Which might be why it’s not very funny.)

There are a few exceptions, though, and there’s one big subversion that I find particularly interesting as a character moment. Galavant bursts into the castle to rescue his sweetheart Madalena, who’s been kidnapped and forced into marriage by King Richard, and the following dialogue ensues:

Galavant: You can offer her great fame, and you can offer her great fortune, but only I can offer her great love. And that is what she chooses.

Madalena: Actually…

Galavant: Hm?

Madalena: I don’t know, I’ve been thinking a lot about it ever since he kidnapped me, and I’m gonna go with the fame and fortune. Seems like an easier life, you know?

What I like about Madalena’s choice is that it’s the first time she gets any agency. Sure, Richard didn’t ask her permission before kidnapping her and forcing her into marriage, but Galavant doesn’t ask her what she wants, either; he just assumes. He’s the hero, so of course he’s going to rescue the lady and save the day. And then Madalena speaks up and derails the expected script.

And that’s why I think Madalena is potentially the most interesting character on the show. She’s not an admirable person–she goes a bit Lady Macbeth after marrying Richard–but she found herself in the damsel-in-distress role, and she seized the reins instead, and that’s fascinating. That’s the kind of decision that makes me want to know this character better, and I hope the show follows through with her.

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