Lol, I'm in a mood; you really don't want to hear my rant about women whinging on about "that time of the month" and expecting to be taken seriously "the rest of the time"
Nothing at all to do with "that time of the month" and everything to do with we have to live in the world we're in...
Also, I'm pleasantly surprised at how much of the spanish-language TV I understand, despite never taking a lick of spanish lessons in my life. Trabaja a Tejas, habla espanol.
I find Spanish and French easy because they're closely related; the trouble I have is I often intermingle the two in once sentence.
German is completely impossible for me; I've tried several times but it's hard for me to get the hang of. I think it's because one of my family languages was Yiddish -- again, I keep mixing them up.
White Collar is a great example of a show with several kick-ass women on it--including three women of color, one of whom is an open lesbian--that fails Bechdel in pretty much every episode because the female characters rarely interact with each other onscreen.
Yeah, I fully agree, and that's why (a) I refer to it as a second-order test, and (b) why my thoughts on the matter still have to have the women interacting with one another onscreen/on page. You're right, that is the main part of the test, and it's still #1 on the list.
I did think about adding another caveat, being, that if the women are conversing about a man, that the man can't be the focus of the story (e.g. Gwen and Martha talking about Jack), but then that would negate my little story about the mother and the nurse. Every bit of their interaction will be saturated with a man there--otherwise, they wouldn't be interacting at all, and there wouldn't be a story, and that kind of defeats the purpose of having the refinements anyway.
I'd go so far as to extend that into same-sex partnerships. Tired Old Rom Com Cliches are tired old cliches no matter if the people involved are men, women, nav'i, werewolves, vampires, or muppets.
Although it would be fun to see an Avenue Q version of Twilight.....
Wow, I was actually just watching TKKS the other day because it came on BBCA while I was at a friend's house, and I was just thinking about the Suzie+Gwen conversation. They do talk about Jack a lot, but then they also talk about death, and that's pretty deep. Do they fail the whole test if only one part of their conversation is about a man? And, I like your changes, since Jack isn't really a love interest at that point to either one of them.
They Keep Killing Suzie is a VERY high pass in both the original and variant sense.
They do talk about Jack--but the existential conversation in the car is THE story in TKKS. Not the glove, not the gun battle, not the horrid realization of betrayal. Death, life after death, life in death.
If you look at TWS1 as a long, slow corruption of Gwen Cooper, TKKS is a critical moment in the destruction of her innocence. (Jack's comment in Out Of Time about how it would be easier if the lost plane were aliens is the final nail, IMO.) That makes it an exceptional high pass right there--the conversation is not about a man, and is the defining moment of both the story, but also of the greater character and story arcs of the series.
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Also, I'm pleasantly surprised at how much of the spanish-language TV I understand, despite never taking a lick of spanish lessons in my life. Trabaja a Tejas, habla espanol.
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German is completely impossible for me; I've tried several times but it's hard for me to get the hang of. I think it's because one of my family languages was Yiddish -- again, I keep mixing them up.
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Yeah, I fully agree, and that's why (a) I refer to it as a second-order test, and (b) why my thoughts on the matter still have to have the women interacting with one another onscreen/on page. You're right, that is the main part of the test, and it's still #1 on the list.
I did think about adding another caveat, being, that if the women are conversing about a man, that the man can't be the focus of the story (e.g. Gwen and Martha talking about Jack), but then that would negate my little story about the mother and the nurse. Every bit of their interaction will be saturated with a man there--otherwise, they wouldn't be interacting at all, and there wouldn't be a story, and that kind of defeats the purpose of having the refinements anyway.
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I'd go so far as to extend that into same-sex partnerships. Tired Old Rom Com Cliches are tired old cliches no matter if the people involved are men, women, nav'i, werewolves, vampires, or muppets.
Although it would be fun to see an Avenue Q version of Twilight.....
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They do talk about Jack--but the existential conversation in the car is THE story in TKKS. Not the glove, not the gun battle, not the horrid realization of betrayal. Death, life after death, life in death.
If you look at TWS1 as a long, slow corruption of Gwen Cooper, TKKS is a critical moment in the destruction of her innocence. (Jack's comment in Out Of Time about how it would be easier if the lost plane were aliens is the final nail, IMO.) That makes it an exceptional high pass right there--the conversation is not about a man, and is the defining moment of both the story, but also of the greater character and story arcs of the series.
JMHO.
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