Trailers. Vampires. TV.
I've finally seen the trailer for Half Blood Prince. It may have been something to do with the projection/screen, but this looks like being quite literally the darkest HP adaptation (which Daniel Radcliffe always promises, well, metaphorically). I also saw the trailer for the new Star Trek. (Deeply conflicting emotions about the whole thing aside…) I like the production design, how they've gone for the chunky retro feel but updated it. I don't know what I think about Biker!Kirk. And was that Uhura's bra? I don't need to see Uhura's bra!
I want to quickly rec Let the Right One In. Go see it if you want to see a good vampire movie, one made with a little more recourse to the brain than the subconscious (Stephenie Meyer's) and the pocket book (although if the success of Twilight, Underworld et al. made people think of adapting Sunshine, that'd be quite cool - I think the initial imprisonment would be well iconic). It's creepifying, absorbing and affecting in the right measure. Now the anti-Twilight critical fraternity (oh these girls, turning their RPattz into the new Beatles) have slightly over-praised it, the pacing is a bit too art-house (by which I mean slow) but the ending and what it meant hit me twenty minutes after leaving the cinema, in a good 'oh! Ouch' way. And Eli/Oskar has me questioning previous condescending attitudes towards vampire shippiness. Eli! So animalistic but not wholly. So dangerous, reminiscent of IwaV's Claudia. But, but there is a vulnerability there. There were some things that were very Swedish, but other things about the film that made me realise I only know Sweden thrugh stereotypes, really.
ER I've forgotten the title again. Another shruggable episode that demonstrates exactly why the show is on it's last legs. I enjoyed Morris/Claudia, but the main two medical cases, in which both Tony and Can't Project wouldn't listen (to Sam and Neela) - and okay the cases were different, and I was more irked by Simon (I admit to being prejudiced against him, but he is turning into Carter at his most condescending). But there wasn't much to it other than 'I can see where this is going/SAM TOLD YOU SO. AND THE MOTHER. BUT OF COURSE YOU KNOW BETTER THAN THOSE WOMEN WHO'VE ONLY HAD A COMBINED 20-PLUS YEARS OF LOOKING AFTER A CHILD OVER YOU. AND YOUR ISSUES. AND HA HA, NEELA ISN'T REALLY THINKING ABOUT YOU AS SHE PLANS FOR HER FUTURE.' Ahem. I don't hate him, but that was all too predictable. And slightly sexist. Though the show is making it's political points.
I enjoyed Dancing with the Stars, and will go to look at a clip of Gilles's paso next. Things are mixing up at the top, aren't they?
And ITV must not have shown Pushing Daisies last week, because it picked up where we left off two weeks ago. Hats! Mainly good hats instead of mad hats. Olive singing (I literally punched the air in glee) - they can keep doing that every single episode, and I will cheer their excesses on. Besides, the way the triangle played out was very nice. I'm not that bothered about the return of David Arquette, although it did mean that Ned revived a rhino which was awesome.
I want to quickly rec Let the Right One In. Go see it if you want to see a good vampire movie, one made with a little more recourse to the brain than the subconscious (Stephenie Meyer's) and the pocket book (although if the success of Twilight, Underworld et al. made people think of adapting Sunshine, that'd be quite cool - I think the initial imprisonment would be well iconic). It's creepifying, absorbing and affecting in the right measure. Now the anti-Twilight critical fraternity (oh these girls, turning their RPattz into the new Beatles) have slightly over-praised it, the pacing is a bit too art-house (by which I mean slow) but the ending and what it meant hit me twenty minutes after leaving the cinema, in a good 'oh! Ouch' way. And Eli/Oskar has me questioning previous condescending attitudes towards vampire shippiness. Eli! So animalistic but not wholly. So dangerous, reminiscent of IwaV's Claudia. But, but there is a vulnerability there. There were some things that were very Swedish, but other things about the film that made me realise I only know Sweden thrugh stereotypes, really.
ER I've forgotten the title again. Another shruggable episode that demonstrates exactly why the show is on it's last legs. I enjoyed Morris/Claudia, but the main two medical cases, in which both Tony and Can't Project wouldn't listen (to Sam and Neela) - and okay the cases were different, and I was more irked by Simon (I admit to being prejudiced against him, but he is turning into Carter at his most condescending). But there wasn't much to it other than 'I can see where this is going/SAM TOLD YOU SO. AND THE MOTHER. BUT OF COURSE YOU KNOW BETTER THAN THOSE WOMEN WHO'VE ONLY HAD A COMBINED 20-PLUS YEARS OF LOOKING AFTER A CHILD OVER YOU. AND YOUR ISSUES. AND HA HA, NEELA ISN'T REALLY THINKING ABOUT YOU AS SHE PLANS FOR HER FUTURE.' Ahem. I don't hate him, but that was all too predictable. And slightly sexist. Though the show is making it's political points.
I enjoyed Dancing with the Stars, and will go to look at a clip of Gilles's paso next. Things are mixing up at the top, aren't they?
And ITV must not have shown Pushing Daisies last week, because it picked up where we left off two weeks ago. Hats! Mainly good hats instead of mad hats. Olive singing (I literally punched the air in glee) - they can keep doing that every single episode, and I will cheer their excesses on. Besides, the way the triangle played out was very nice. I'm not that bothered about the return of David Arquette, although it did mean that Ned revived a rhino which was awesome.