My Top Ten Fannish Highlights From 2007
In order of watching/reading, not in order of precedence:
1) The Prestige. Awesome, awesome movie. I loved it so very much, still do. (Sidenote: last night I had dinner with a friend of mine, an editor, and it cracks us up how we invariably pick up a different focus on something we both like; he referred to The Prestige as "the film with Hugh Jackman", I referred to it as "the one with Christian Bale". But really, it's not about either of them, though they're both excellent; it's about the whole late Victorian magic and obsessiveness and clever narrative.)
2) "Conspiracy requires intent". Gaius Baltar: This Is Your Life. In episode 3.13 of Battlestar Galactica, he goes from a suicide attempt (which, given that Baltar is the ultimate survivor, tells you something about the state he's in) to being tortured interrogated by the show's heroes to being almost killed by a man who used to hero-worship him to finally admitting to himself that no, he's not a Cylon, that's not the way out, he's entirely and completely human. What he can't admit, however, is what Roslin & Co. want him to, that he's guilty. BSG is not always in top form, but in this particular episode, James Callis gives a fantastic performance and shows just why Baltar, who is neither a traditional villain (you won't see him plot anyone's destruction any time soon) nor an anti-hero (when pressed enough into a corner, he can come up with some great feats, but generally speaking, he invariably takes the easy way out) and definitely not a hero is nonetheless such a compelling character.
3) The Son Also Rises, Crossroads I + II : after a season and a half of being saddled with some of the worst storylines ever (notably, but not exclusively the quadrangle of doom), Lee Adama becomes a really compelling character again as the writers remember that he works best when faced with an ethical dilemma. Making him part of Gaius Baltar's defense team was inspired; making him confront Roslin in court was genius. The resurrection of the Lee/ethics OTP is cemented by nt one but two terrific courtroom scenes, the second of which sums up the show to date. In addition, we get one of the best new characters in the form of Romo Lampkin, Baltar's main lawyer, and a great illustration of life's ironies as Gaeta out of hate born from disappointed belief lies and accuses Baltar of the one thing Baltar is genuinenly innocent of/has a true excuse for.
4) Lost: the truly fascinating triangle of the season, Locke/Island/Ben, gets into high gear with The Man from Tallahasee, wherein Terry O'Quinn and Michael Emerson act everyone's socks off every second they're on screen together (well, apart, too, but we knew that) and culminates in The Man Behind The Curtain, aka the Ben Background Story. Definitely the highlight of season 3 to me, and I was glued to the screen.
5) Discovering Heroes during its last season 1 hiatus. I basically rushed through the first eighteen episodes and from that point onwards saw the show in real time. As mentioned before, the scene that made me go from "okay, nice, maybe I'll keep watching and maybe I won't" from "wow! didn't expect that! must see more!" in the pilot was the very last one with its great twist, and of course the relationship between the Petrellis was and is at the core of the show for me, but I really fell in love with the entire Heroes universe, from Hiro's beaming smile to Angela Petrelli's regal ruthlessness to Mr. Bennet's moral greyness to Matt Parkman trying to remain a decent man despite increasing temptation to the opposite, from Claire's walking through literal and metaphorical fire to Charlie's delight about 1000 cranes surrounding her to Candice sharing comics with Micah to Monica's joy when exploring her powers for the first time to Elle's, bad pun intended, sparkling presence and mixture of glee and brokenness. I fell in love back between winter and spring, and have remained in love ever since.
6) Dr. Who: Gridlock. Sure, Blink is the outstanding brilliant individual episode of the season. Sure, Human Nature/The Family of Blood is the acting tour the force for both leads, and immensely moving. And I'm listing something about the last three episodes seperately. But I just love Gridlock beyond reason. For the Gallifrey descriptions at the start and finish. For the best single scene between Martha and the Doctor. For Martha being so brave and inspired on her own, and using submarine movies to her advantage. For the Doctor being, as another character puts it, "crazy, and a bit magnificent", hopping from one flying car to the next. For the whole eternal traffic jam with its passengers, not just the adorable kittens but also their great Mum and Dad, for the old ladies, for Novice Hame and her redemption. "I had no other choice." "Yes, you did," spoken with such respect and admiration. For the Face of Boe giving it a final all, and that message. Oh, Gridlock. You may not get any Hugos, but you are one of my favourite episodes of all Who, full stop.
7) Dr. Who: the entire "Return of the Master" arc. Firstly, it was brilliant not to just let him show up as the Master but use the gimmick from Human Nature by introducing us to kind Professor Yana. (And yes, awesome casting coup.) The way he and the Doctor immediately hit it off is especially heartbreaking in retrospect (they even get a hand-holding scene, and I remain convinced the Doctor would have asked Yana to come with him if events hadn't, err, gone otherwise). Derek Jacobi proving he needs no black contact lenses or make-up to convey character transformation and menace when Yana goes the way of John Smith and the Master takes over. John Simm then becoming the first Master since Roger Delgado who truly is a direct mirror of the Doctor he's paired up with, in a fantastic performance of charisma, viciousness, wit and the odd moment of vulnerability. "Say my name" competing with The Phonecall for slashiest Who scene ever. And then the Master, after having been defeated for the nth time in the show's history, finding the one devastating way to finally win over the Doctor.
8) Harry Potter and the Deathly Hallows: Potterdämmerung! And a great end to the saga it was (in addition to being a bloodbath; from the moment Rowling killed Hedwig in the opening sequence, you knew no one was safe). Dumbledore's backstory turned out to be one of the most fascinating things in the novels, Snape, as most of fandom had speculated, proved that you can be brave and heroic while still spectacularly unpleasant and screwed up, Neville was awesome, so was Molly, and the trio completed their growing up process. I'm not a 'shipper, but Hermione kissing Ron for the first time after he pointed out the houseelves should have a choice about the whole joining the battle thing was a wonderful moment. Harry's realisation that Dumbledore had basically groomed him to die and his going to his death with the ghosts of his past: just about killed me. And as opposed to most of fandom, I even like the much reviled epilogue, capped with the revelation that Harry called one of his kids "Albus Severus" and tells him the Slytherin he was named after was the bravest man Harry ever knew. Oh, and I'm still grinning about the certainty that Ron jinxed himself by telling Rose not to date Scorpius Malfoy.
9) Pirates of the Carribean: At World's End: and what started out intended as a single popcorn summer movie which happened to be written with some truly inventive twists ends up as a truly satisfying trilogy, giving me one of my favourite female characters on screen with Elizabeth Swann (yes, yes, I know, Jack is fab, I think so, too, but it was Elizabeth who made the movies for me) and surprising the hell out of me with ending on a mythic note. Some of my favourite AWE moments: Barbossa and Jack with the dead Kraken - which truly conveys a sense of an age passing - , Will realizing what Elizabeth had done to Jack and her response (this made Will and Elizabeth as a couple to me, because from this point onwards, you can't accuse them of seeing each other on pedestals anymore), Elizabeth discovering her father among the dead, Elizabeth's two scenes with Norrington and what they conveyed, Calypso/Tia Dalma and Davy Jones (they really pulled off the mythic dimension there, while also making the parallels/contrasts to Our Heroes believable), Jack's moment of decision, Elizabeth Swann, Pirate King, giving her version of the Armada speech. And in conclusion, hoist the colours!
10) Heroes again: after declaring my love for the entire universe and listing the "falling in love" process, I must name the show again for That Beloved Dysfunctional Family. Whenever you have more than one Petrelli in the same room at the same time, the scene in question just gets another special kick for me. This is true for any and all Nathan and Peter scenes, for any and all Angela and either of her sons scenes, and for any and all Claire and any of the three Petrellis scenes. Reigning myself in, just a few examples: "You're getting the benefit of my experience." "Whether I want it or not." (Angela and Claire). "Just because you've shaved doesn't mean you're sober" (Angela and Nathan at the hospital; it's a tough competition, but Angela and Nathan probably get the prize for most dysfunctional relationship among the dysfunctional Petrellis, only able to express their concern for each other when one of them is in severe distress and otherwise resenting the hell out of that part of themselves they see in each other). Angela makes Peter remember herself in "Out of Time" (Angela and Peter, by contrast, have a downright relaxed relationship in comparison, except for the part where he hasn't dealt yet with the fact she both loves him and has no problems using him for her ends). "I know why you're doing this." (Phonecall phonecall phonecall - it was cruel not to give us more Nathan and Claire scenes in volume 2, but I'm still glad we got this one and love it to bits.) "Life gets better after high school" (sometimes I feel like the only person in fandom who doesn't 'ship Peter and Claire in the romantic sense and still likes their relationship, and this scene from "Homecoming" is pretty much why). And - taking a deep breath - for Nathan and Peter: "I can fly, Nathan. So can you", aka The Manipulative Argument Example (from "Nothing to Hide"), "This is not your fault", aka The Hurt/Comfort example (from "Six Months Ago", the hospital scene), "I don't know who I'd be without you", aka The Confession of Co-dependence example (".07%", of course), "I just... really missed you", aka The Reunion That Kills Me example. Oh, yeah, and That Other Flying Scene. Some people have flaming hands, others have stabbed through the heart and sent to hell couple moments to save the world. The Petrellis do it flying.
1) The Prestige. Awesome, awesome movie. I loved it so very much, still do. (Sidenote: last night I had dinner with a friend of mine, an editor, and it cracks us up how we invariably pick up a different focus on something we both like; he referred to The Prestige as "the film with Hugh Jackman", I referred to it as "the one with Christian Bale". But really, it's not about either of them, though they're both excellent; it's about the whole late Victorian magic and obsessiveness and clever narrative.)
2) "Conspiracy requires intent". Gaius Baltar: This Is Your Life. In episode 3.13 of Battlestar Galactica, he goes from a suicide attempt (which, given that Baltar is the ultimate survivor, tells you something about the state he's in) to being tortured interrogated by the show's heroes to being almost killed by a man who used to hero-worship him to finally admitting to himself that no, he's not a Cylon, that's not the way out, he's entirely and completely human. What he can't admit, however, is what Roslin & Co. want him to, that he's guilty. BSG is not always in top form, but in this particular episode, James Callis gives a fantastic performance and shows just why Baltar, who is neither a traditional villain (you won't see him plot anyone's destruction any time soon) nor an anti-hero (when pressed enough into a corner, he can come up with some great feats, but generally speaking, he invariably takes the easy way out) and definitely not a hero is nonetheless such a compelling character.
3) The Son Also Rises, Crossroads I + II : after a season and a half of being saddled with some of the worst storylines ever (notably, but not exclusively the quadrangle of doom), Lee Adama becomes a really compelling character again as the writers remember that he works best when faced with an ethical dilemma. Making him part of Gaius Baltar's defense team was inspired; making him confront Roslin in court was genius. The resurrection of the Lee/ethics OTP is cemented by nt one but two terrific courtroom scenes, the second of which sums up the show to date. In addition, we get one of the best new characters in the form of Romo Lampkin, Baltar's main lawyer, and a great illustration of life's ironies as Gaeta out of hate born from disappointed belief lies and accuses Baltar of the one thing Baltar is genuinenly innocent of/has a true excuse for.
4) Lost: the truly fascinating triangle of the season, Locke/Island/Ben, gets into high gear with The Man from Tallahasee, wherein Terry O'Quinn and Michael Emerson act everyone's socks off every second they're on screen together (well, apart, too, but we knew that) and culminates in The Man Behind The Curtain, aka the Ben Background Story. Definitely the highlight of season 3 to me, and I was glued to the screen.
5) Discovering Heroes during its last season 1 hiatus. I basically rushed through the first eighteen episodes and from that point onwards saw the show in real time. As mentioned before, the scene that made me go from "okay, nice, maybe I'll keep watching and maybe I won't" from "wow! didn't expect that! must see more!" in the pilot was the very last one with its great twist, and of course the relationship between the Petrellis was and is at the core of the show for me, but I really fell in love with the entire Heroes universe, from Hiro's beaming smile to Angela Petrelli's regal ruthlessness to Mr. Bennet's moral greyness to Matt Parkman trying to remain a decent man despite increasing temptation to the opposite, from Claire's walking through literal and metaphorical fire to Charlie's delight about 1000 cranes surrounding her to Candice sharing comics with Micah to Monica's joy when exploring her powers for the first time to Elle's, bad pun intended, sparkling presence and mixture of glee and brokenness. I fell in love back between winter and spring, and have remained in love ever since.
6) Dr. Who: Gridlock. Sure, Blink is the outstanding brilliant individual episode of the season. Sure, Human Nature/The Family of Blood is the acting tour the force for both leads, and immensely moving. And I'm listing something about the last three episodes seperately. But I just love Gridlock beyond reason. For the Gallifrey descriptions at the start and finish. For the best single scene between Martha and the Doctor. For Martha being so brave and inspired on her own, and using submarine movies to her advantage. For the Doctor being, as another character puts it, "crazy, and a bit magnificent", hopping from one flying car to the next. For the whole eternal traffic jam with its passengers, not just the adorable kittens but also their great Mum and Dad, for the old ladies, for Novice Hame and her redemption. "I had no other choice." "Yes, you did," spoken with such respect and admiration. For the Face of Boe giving it a final all, and that message. Oh, Gridlock. You may not get any Hugos, but you are one of my favourite episodes of all Who, full stop.
7) Dr. Who: the entire "Return of the Master" arc. Firstly, it was brilliant not to just let him show up as the Master but use the gimmick from Human Nature by introducing us to kind Professor Yana. (And yes, awesome casting coup.) The way he and the Doctor immediately hit it off is especially heartbreaking in retrospect (they even get a hand-holding scene, and I remain convinced the Doctor would have asked Yana to come with him if events hadn't, err, gone otherwise). Derek Jacobi proving he needs no black contact lenses or make-up to convey character transformation and menace when Yana goes the way of John Smith and the Master takes over. John Simm then becoming the first Master since Roger Delgado who truly is a direct mirror of the Doctor he's paired up with, in a fantastic performance of charisma, viciousness, wit and the odd moment of vulnerability. "Say my name" competing with The Phonecall for slashiest Who scene ever. And then the Master, after having been defeated for the nth time in the show's history, finding the one devastating way to finally win over the Doctor.
8) Harry Potter and the Deathly Hallows: Potterdämmerung! And a great end to the saga it was (in addition to being a bloodbath; from the moment Rowling killed Hedwig in the opening sequence, you knew no one was safe). Dumbledore's backstory turned out to be one of the most fascinating things in the novels, Snape, as most of fandom had speculated, proved that you can be brave and heroic while still spectacularly unpleasant and screwed up, Neville was awesome, so was Molly, and the trio completed their growing up process. I'm not a 'shipper, but Hermione kissing Ron for the first time after he pointed out the houseelves should have a choice about the whole joining the battle thing was a wonderful moment. Harry's realisation that Dumbledore had basically groomed him to die and his going to his death with the ghosts of his past: just about killed me. And as opposed to most of fandom, I even like the much reviled epilogue, capped with the revelation that Harry called one of his kids "Albus Severus" and tells him the Slytherin he was named after was the bravest man Harry ever knew. Oh, and I'm still grinning about the certainty that Ron jinxed himself by telling Rose not to date Scorpius Malfoy.
9) Pirates of the Carribean: At World's End: and what started out intended as a single popcorn summer movie which happened to be written with some truly inventive twists ends up as a truly satisfying trilogy, giving me one of my favourite female characters on screen with Elizabeth Swann (yes, yes, I know, Jack is fab, I think so, too, but it was Elizabeth who made the movies for me) and surprising the hell out of me with ending on a mythic note. Some of my favourite AWE moments: Barbossa and Jack with the dead Kraken - which truly conveys a sense of an age passing - , Will realizing what Elizabeth had done to Jack and her response (this made Will and Elizabeth as a couple to me, because from this point onwards, you can't accuse them of seeing each other on pedestals anymore), Elizabeth discovering her father among the dead, Elizabeth's two scenes with Norrington and what they conveyed, Calypso/Tia Dalma and Davy Jones (they really pulled off the mythic dimension there, while also making the parallels/contrasts to Our Heroes believable), Jack's moment of decision, Elizabeth Swann, Pirate King, giving her version of the Armada speech. And in conclusion, hoist the colours!
10) Heroes again: after declaring my love for the entire universe and listing the "falling in love" process, I must name the show again for That Beloved Dysfunctional Family. Whenever you have more than one Petrelli in the same room at the same time, the scene in question just gets another special kick for me. This is true for any and all Nathan and Peter scenes, for any and all Angela and either of her sons scenes, and for any and all Claire and any of the three Petrellis scenes. Reigning myself in, just a few examples: "You're getting the benefit of my experience." "Whether I want it or not." (Angela and Claire). "Just because you've shaved doesn't mean you're sober" (Angela and Nathan at the hospital; it's a tough competition, but Angela and Nathan probably get the prize for most dysfunctional relationship among the dysfunctional Petrellis, only able to express their concern for each other when one of them is in severe distress and otherwise resenting the hell out of that part of themselves they see in each other). Angela makes Peter remember herself in "Out of Time" (Angela and Peter, by contrast, have a downright relaxed relationship in comparison, except for the part where he hasn't dealt yet with the fact she both loves him and has no problems using him for her ends). "I know why you're doing this." (Phonecall phonecall phonecall - it was cruel not to give us more Nathan and Claire scenes in volume 2, but I'm still glad we got this one and love it to bits.) "Life gets better after high school" (sometimes I feel like the only person in fandom who doesn't 'ship Peter and Claire in the romantic sense and still likes their relationship, and this scene from "Homecoming" is pretty much why). And - taking a deep breath - for Nathan and Peter: "I can fly, Nathan. So can you", aka The Manipulative Argument Example (from "Nothing to Hide"), "This is not your fault", aka The Hurt/Comfort example (from "Six Months Ago", the hospital scene), "I don't know who I'd be without you", aka The Confession of Co-dependence example (".07%", of course), "I just... really missed you", aka The Reunion That Kills Me example. Oh, yeah, and That Other Flying Scene. Some people have flaming hands, others have stabbed through the heart and sent to hell couple moments to save the world. The Petrellis do it flying.