Being Human 3.03
In which Being Human does zombies after a week of 
rozk writing zombie poetry. Coincidence?
To start with what I have mixed feelings about: on the one hand, I'm all for vampire mystique being twisted by making ordinarily-shaped humans vampires instead of solely vogue cover types. (One reason why I found show!Herrick better than pilot!Herrick. On the other, pathetic fanboy Graham being fat was also pandering to a cliché. This being said, I am appreciative of the show finding ever new ways to remind Mitchell of what he did, and the far-reaching consequences there were. Also, Mitchell being given the chance to 'fess up about the train massacre to Annie and almost taking it but at the last moment going the easier way is typical Mitchell.
(Sidenote: though it brings up the interesting if not new truth that both characters and any given show audience find horrible crimes easier to handwave or at least to forgive if they happened outside their own lifetime, as opposed to last year, even if the crimes stay the same.)
I've come around to team pregnancy due to the last ep, and thus was pleased both by the news (and that they didn't drag the reveal out any longer) and the way the show let the characters handle it - George wasn't exactly the posterboy of post feminism for a moment, but for understandable reasons, and he came through after thinking about it (and after a night kicked out of the bedroom, of course). Not sure whether the backstory for Nina - i.e. her having an abusive mother - was necessary, but then again I'm all for more Nina background, plus I liked that her ambiguous feelings about being pregnant weren't solely due to the werewolf factor but also due to her human side. Also Nina chaperoning Annie and Sasha in the middle of her own troubles was adorable. And I loved how her decision to have the baby was played out. In conclusion: still shipping Nina and George, over here.
Sasha the Zombie started out looking like a cliché but turned out, like Adam the teenage vampire, to be a three dimensional being whose fate had genuine pathos. The show gave her plenty of parallels with Annie, particularly the boyfriend and his lack of grief at her death, which made Annie's attempt at mentoring very telling, too. Of course Annie is in the process of repeating old mistakes, sort of, in that she was in denial about Owen for a long time and now deliberately pushes anything worrying about Mitchell in that safehouse, the past. (And Annie did have warning signs late last season that it is very much in the present.) As George points out, her being in love with Mitchell isn't exactly a staggering surprise - she always liked him, being rescued from the bureaucratic hereafter purgatory was enormous, she's such a determined optimist, and besides, excepting other ghosts who are usually leaving sooner or later a vampire is one of the few genuine options she has. But Annie's denial and Mitchell's salvation complex (and tendency to go the easier route) feed each other, and that unconfessed and unconfronted massacre is a time bomb. Note in the scene with Graham says "the story has to end", and I'm wondering whether we will get the logical end of his storyline after all. Hm....
This entry was originally posted at http://selenak.dreamwidth.org/652458.html. Comment there or here, as you wish.
rozk writing zombie poetry. Coincidence?
To start with what I have mixed feelings about: on the one hand, I'm all for vampire mystique being twisted by making ordinarily-shaped humans vampires instead of solely vogue cover types. (One reason why I found show!Herrick better than pilot!Herrick. On the other, pathetic fanboy Graham being fat was also pandering to a cliché. This being said, I am appreciative of the show finding ever new ways to remind Mitchell of what he did, and the far-reaching consequences there were. Also, Mitchell being given the chance to 'fess up about the train massacre to Annie and almost taking it but at the last moment going the easier way is typical Mitchell.
(Sidenote: though it brings up the interesting if not new truth that both characters and any given show audience find horrible crimes easier to handwave or at least to forgive if they happened outside their own lifetime, as opposed to last year, even if the crimes stay the same.)
I've come around to team pregnancy due to the last ep, and thus was pleased both by the news (and that they didn't drag the reveal out any longer) and the way the show let the characters handle it - George wasn't exactly the posterboy of post feminism for a moment, but for understandable reasons, and he came through after thinking about it (and after a night kicked out of the bedroom, of course). Not sure whether the backstory for Nina - i.e. her having an abusive mother - was necessary, but then again I'm all for more Nina background, plus I liked that her ambiguous feelings about being pregnant weren't solely due to the werewolf factor but also due to her human side. Also Nina chaperoning Annie and Sasha in the middle of her own troubles was adorable. And I loved how her decision to have the baby was played out. In conclusion: still shipping Nina and George, over here.
Sasha the Zombie started out looking like a cliché but turned out, like Adam the teenage vampire, to be a three dimensional being whose fate had genuine pathos. The show gave her plenty of parallels with Annie, particularly the boyfriend and his lack of grief at her death, which made Annie's attempt at mentoring very telling, too. Of course Annie is in the process of repeating old mistakes, sort of, in that she was in denial about Owen for a long time and now deliberately pushes anything worrying about Mitchell in that safehouse, the past. (And Annie did have warning signs late last season that it is very much in the present.) As George points out, her being in love with Mitchell isn't exactly a staggering surprise - she always liked him, being rescued from the bureaucratic hereafter purgatory was enormous, she's such a determined optimist, and besides, excepting other ghosts who are usually leaving sooner or later a vampire is one of the few genuine options she has. But Annie's denial and Mitchell's salvation complex (and tendency to go the easier route) feed each other, and that unconfessed and unconfronted massacre is a time bomb. Note in the scene with Graham says "the story has to end", and I'm wondering whether we will get the logical end of his storyline after all. Hm....
This entry was originally posted at http://selenak.dreamwidth.org/652458.html. Comment there or here, as you wish.