My writing and others' dancing
I posted Best Guesses (rendering my AO3 stats meme invalid) a Gotham drabble with spoilers for ep 5.10, to which I’ve given the summary: Lee’s thoughts about offering a pregnant Barbara what medical care she can.
It was inspired by when it becomes clear that they don’t know the gender of the baby. Of course, Babs might have chosen not to find out, I admit, but the drabble ties in a few other things swirling around about Lee, as doctor and future stepmother, and Barbara raised in the episode and the one before it.
Fosse/Verdon 1.2 Who’s Got the Pain?
The joy of watching on catch-up is realising that, of course, the show uses the wealth of song titles as episode titles.
I got quite a lot of what I wanted after the last episode, as this episode was mainly from her POV, circling around but never showing the moment when she discovered the infidelity with Hannah the German translator. But it gave us the context of their first meeting and the unsuccessful attempt to work at things about a month later in Majorca. Verdon was attacked by mini flashbacks at moments of stress, but nothing like Fosse’s sharing scenes with his past, and the titlecards used times from various jumping points, professional and personal.
The meat of the episode was the couple meeting to work together on Damn Yankees. They were both with other people. She was a Tony-winning star, not sure of a choreographer with only one show on his resume. She showed she had a spine and could push from it (it’s a metaphor, I have no idea if that’s physically a good idea) in their first encounter. Very quickly, rehearsal was intercut by sex, and then she found out his wife had a disease that meant she couldn’t walk at times and was dying. And yet their collaboration was easy. He turned to her when a number was in jeopardy.
The non-linear nature made Gwen calling out their scene at the beach as if it were a ‘scene’ reverberated all the more after the encounter between Joan and Gwen. They both knew he was a cheater when they took up with him. It was obvious that he kept using flippant lines about suicide when things weren’t going his way.
Here, we got to see Rockwell playing a younger Bobby, and dancing more. We got to see more of Verdon in the ascendant and what that meant for their dynamic. Of course, all the while we were watching a rocky relationship unfold, we were also watching a show get made - rehearsals and on stage - which I fundamentally enjoy.
Watching the end credits, I see that Nicole Fosse herself, shown as a child on the show, is an exec producer. That’s…something.
This entry was originally posted at https://shallowness.dreamwidth.org/393725.html.
It was inspired by when it becomes clear that they don’t know the gender of the baby. Of course, Babs might have chosen not to find out, I admit, but the drabble ties in a few other things swirling around about Lee, as doctor and future stepmother, and Barbara raised in the episode and the one before it.
Fosse/Verdon 1.2 Who’s Got the Pain?
The joy of watching on catch-up is realising that, of course, the show uses the wealth of song titles as episode titles.
I got quite a lot of what I wanted after the last episode, as this episode was mainly from her POV, circling around but never showing the moment when she discovered the infidelity with Hannah the German translator. But it gave us the context of their first meeting and the unsuccessful attempt to work at things about a month later in Majorca. Verdon was attacked by mini flashbacks at moments of stress, but nothing like Fosse’s sharing scenes with his past, and the titlecards used times from various jumping points, professional and personal.
The meat of the episode was the couple meeting to work together on Damn Yankees. They were both with other people. She was a Tony-winning star, not sure of a choreographer with only one show on his resume. She showed she had a spine and could push from it (it’s a metaphor, I have no idea if that’s physically a good idea) in their first encounter. Very quickly, rehearsal was intercut by sex, and then she found out his wife had a disease that meant she couldn’t walk at times and was dying. And yet their collaboration was easy. He turned to her when a number was in jeopardy.
The non-linear nature made Gwen calling out their scene at the beach as if it were a ‘scene’ reverberated all the more after the encounter between Joan and Gwen. They both knew he was a cheater when they took up with him. It was obvious that he kept using flippant lines about suicide when things weren’t going his way.
Here, we got to see Rockwell playing a younger Bobby, and dancing more. We got to see more of Verdon in the ascendant and what that meant for their dynamic. Of course, all the while we were watching a rocky relationship unfold, we were also watching a show get made - rehearsals and on stage - which I fundamentally enjoy.
Watching the end credits, I see that Nicole Fosse herself, shown as a child on the show, is an exec producer. That’s…something.
This entry was originally posted at https://shallowness.dreamwidth.org/393725.html.