Hear, Hear! Well said. What I loved about LOM was the sheer bloody range of emotions you got in an episode - made me feel as though I'd been through the emotional ringer every time I watched it
( ... )
*nodnodnod* emotionally, they just manage to drag you backwards through a hedge but it WORKS somehow. There are so many miserable characters who you just want to shake and tell them to cheer the fuck up, but Sam's pain? GETS ME EVERY TIME. I can't believe they've been able to get away with four cry scenes in one episode. It's mindblowing.
...and yes, the direction is just amazing. Present day is so cold and clinical, it seems so overcast in comparison to 1973, gah, just little things like that... the lighting is so muted, but in 1973 they really play with these lovely bits of shadow and light down at the station, in Sam's flat. I've been screencapping it for evil porn purposes pretty Simmfaces, and keep noticing the chiaroscuro all over the place. Mmmmm. No fuckin' wonder 1973 is more real to him, to us
( ... )
I can't even watch that episode all the way through. I'm an over-emotional old bat, obviously, but Sam!Angst always gets to me, except when he's being an irredeemable arse. Which is more in 1.07 and the second season so let's not discuss it here. :)
And the fucked up relationship with his Mum is wonderful. Did you notice he has a quick glance at her (gorgeous) behind when he first meets her? And it's weird, he loves her so much here but in the finale, it's all cold and she acts like she's heard this all before.
No matter what they say about everything being happy, the whole series has been dark (but not crushingly dark like a late, shitty JossVerse show). Sam's fucked up, Annie isn't an angel and obviously the other guys aren't either. He's making Annie love him and punishing all these people (as it's his fantasy) and the sick side of me loves it completely.
Oh yes. It was wonderfully dark and fucked-up right from the start, no wonder I have love. If it'd been any darker it would've been Blake's 7 or Twin Peaks.
I have one more episode to go (I've been watching it very, very slowly because I love it so much), and I need to watch it but I don't want it to end. *single emo tear
( ... )
And I've just got to apologize again for hijacking your entry a little bit. When I've watched that last episode (which I'm subtly getting more and more spoilered for; another reason to watch it already) I'll really be able to talk about it, I hope.
I KNOW! Oh god. (And no apologising for good discussion! I live for it!)
And gah. The Cracker one just killed me, he was just a bundle of fucked-up pretty pretty pain and oh. WHO WOULDN'T MURDER FOR HIM? Oh god. In terms of fuckuppance, that matched rather eerily well with an idea sam42 and I had in chat the other day. We set out to write the darkest and sickest evil script so that teh Simm would pick it up and we went a bit apeshit. The character's very similar, angsty fucked-up young boy who goes around killing people and is miserable and alone. And then comes in DI Carlisle and gets sucked into the darkness...
I love that ep of Cracker, even though the ending is just so fucking sad. Liam Cunningham was really amazing as well. He and John were perfect together.
ROFL! Writing horribly dark and twisted things so that teh Simm will read it...that's the perfect evil plan!
THANK YOU. GROUND GLASS UP THE ARSE AS AN EXECUTION METHOD?
While shouting at him that no, we don't need Characters Explaining The Fucking Plot and Supposedly Clever Anvils Of Oh Look, I Am Making Such Enlightened Points By Pushing Them In Your Face? Or maybe just highlight the entry for "subtle" in the dictionary, rip it out and feed it to him?
*LoM ending spoiler alert*madamotakuJuly 25 2007, 17:19:27 UTC
Gosh, LoM...it's one of my favorite shows in years, but I do have a couple of issues with it. I know it's all in Sam's head so it actually is all about him, but honestly his 21st-century sense of superiority bullshit gets on my fucking nerves after a while, especially in series 2. And the ending...I'm not sure how I feel about it. The whole series seemed to be about making Sam strong enough to go home so that he can be a better man who really appreciates life and his loved ones, as well as a cop who listens to his instincts and doesn't just follow procedure. Then he just...throws it all away? Willingly kills himself because he wants to be back in that fantasy again? I mean when I first saw it, I was happy for him because he really wanted to go back and help his friends, but it just bugs me. Maybe I need to watch it a couple more times.
Re: *LoM ending spoiler alert*snowgrouseJuly 25 2007, 17:27:55 UTC
Oh, I love it, but then I'm a sucker for angst. I love him realising it's all shit and killing himself. I just fucking love that to bits, it makes me so happy. If it had been a happy ending and he'd just returned it would've totally ruined it for me.
And yeah, the 21st century smugness does bother me--you can tell it's written by white straight blokes because they treat the sexism, for instance, as something that doesn't happen. Eh? Are we meant to think of those instances as vulgar and somehow in the past? When they fucking happen all the bloody time?
But having said that, that's a minor niggle. I love Mars exactly for the fuckuppance and would've wanted an even darker ending where they all had died. Sorry...
Re: *LoM ending spoiler alert*madamotakuJuly 25 2007, 17:51:50 UTC
Ha, I know. The latter part of the series sometimes gets tied up in a "things are soooo much better in the future" mentality that irritates me. I AM glad that Annie never really changed her personality by turning into Super Feminist or something, and just made her way in a man's world in a realistic fashion.
Well yeah, as a "Sam realizes that this experience has left him fucked up and incapable of fitting into the 21st century anymore" ending, it is really good. But dead Simm makes me sad. I like to believe in him living on in a 70's afterlife. But with John Simm, there very rarely is a happy ending.
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...and yes, the direction is just amazing. Present day is so cold and clinical, it seems so overcast in comparison to 1973, gah, just little things like that... the lighting is so muted, but in 1973 they really play with these lovely bits of shadow and light down at the station, in Sam's flat. I've been screencapping it for evil porn purposes pretty Simmfaces, and keep noticing the chiaroscuro all over the place. Mmmmm. No fuckin' wonder 1973 is more real to him, to us ( ... )
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And the fucked up relationship with his Mum is wonderful. Did you notice he has a quick glance at her (gorgeous) behind when he first meets her? And it's weird, he loves her so much here but in the finale, it's all cold and she acts like she's heard this all before.
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And gah. The Cracker one just killed me, he was just a bundle of fucked-up pretty pretty pain and oh. WHO WOULDN'T MURDER FOR HIM? Oh god. In terms of fuckuppance, that matched rather eerily well with an idea sam42 and I had in chat the other day. We set out to write the darkest and sickest evil script so that teh Simm would pick it up and we went a bit apeshit. The character's very similar, angsty fucked-up young boy who goes around killing people and is miserable and alone. And then comes in DI Carlisle and gets sucked into the darkness...
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ROFL! Writing horribly dark and twisted things so that teh Simm will read it...that's the perfect evil plan!
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While shouting at him that no, we don't need Characters Explaining The Fucking Plot and Supposedly Clever Anvils Of Oh Look, I Am Making Such Enlightened Points By Pushing Them In Your Face? Or maybe just highlight the entry for "subtle" in the dictionary, rip it out and feed it to him?
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And yeah, the 21st century smugness does bother me--you can tell it's written by white straight blokes because they treat the sexism, for instance, as something that doesn't happen. Eh? Are we meant to think of those instances as vulgar and somehow in the past? When they fucking happen all the bloody time?
But having said that, that's a minor niggle. I love Mars exactly for the fuckuppance and would've wanted an even darker ending where they all had died. Sorry...
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Well yeah, as a "Sam realizes that this experience has left him fucked up and incapable of fitting into the 21st century anymore" ending, it is really good. But dead Simm makes me sad. I like to believe in him living on in a 70's afterlife. But with John Simm, there very rarely is a happy ending.
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