beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
Just finished watching what gets called, in episode, Eobard Thawne's origin story.

The entire morality of this show depends on the physics of time travel, and yet it can never decide what the damn rules are.

Read more... )

This cannot be the original origin story, if Eo!Wells told the truth. Simplest answer is he lied, but he told most of his observable lies by slicing the truth really damn fine, which leaves that less simple.

What this absolutely can be is a way to build a stable loop. Everything we observed can be a logical consequence of what Thawne heard here.

With the teensy tiny problem of him not being born anywhen, which takes the 'stable' right out of it.

I still haven't seen Legends season two - I'm rewatching slowly so when the dvds come out I'll have everything fresh and well chewed over - but I imagine it'll complicate more than clarify.

The whole ethics of the situation and reading of a pretty central character depends on their laws of time
but their time has no laws
and the speed force is even more a chaotic thing of itself
so there's no making sense of anything
or anyone.

Still, whatever his reasons, Thawne does seem to have a lot of fun being a villain
which undermines the predestination tragedy reading pretty thoroughly.

Simplest if he's just a jerk.

But most fitting the canon thus far if he's a time traveller trying to deal with shifting memories while staying focused on the goal of maintaining a stable timeline where the Flash was the inspiration for Reverse Flash and he, in a backwards way, returned the favor.

... yet stable timeline is not a thing you associate with him by simplest reading...

and round and round the illogic goes.

Time travel. Why did they focus on time travel? It takes so much work to even vaguely make sense.

... and I realise people not me are putting less effort into making sense of Eobard Thawne, but, you know, villains and rogues...
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I've been thinking on my latest fantasy world, as per usual, and therefore making AU versions of assorted characters, mostly from the Flash. We've got STAR labs too, it's just doing magical research.

So I was thinking what the characters are there for.

Read more... )

And to make the story go right now there's a !Wells, Bear, Hart, Cat and Ram. An overriding purpose, with an absolute opposition, a snarky one who cares what people think, someone who is mostly don't, and someone who is mostly can. But I don't want to put all the deciding in the same place as the Flash. Even though I can see exactly how I could.

I want to put me in there, making choices, weighing things up. Because there's never anyone on TV who thinks like I would.

Don't know if anyone would want to read that.

Guess if I ever wrote it I would find out.
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I dreamt there was this room which made some people very, very twitchy if shut in there alone. Which would be hard to distinguish from regular hey why is the door locked twitchy. But it was like sensory deprivation, like people in that room that is Too Quiet. It shut off a sense most people aren't consciously aware of, the one mages use, a sort of reaching out part. So it filtered for people who could be trained, which was handy, but this particular room was designed for something else.

As this group found when Barry Allen closed the door behind himself, and while the world got shut out, that left them real focused on the sense of each other.

If there wasn't anything to reach outside for, certain spells, inset in the floors, could encourage, basically, soulbonding.

It hadn't been done for a while, not formally or consciously. Mick and Len were in there and had their own little bond humming away. But the more people in a bonded group, the stronger the bond, the greater the distance it worked at, the more strength each could share with the others, and the more knowledge. This room was set up for a bond of five or six, and they hadn't found rooms for larger. Which ought to be a clue this was going to get wild, but, they had an urgent need to be better, faster, stronger, smarter, and, rather importantly, able to trust each other.

Barry Allen, Mick Rory and Leonard Snart, Cisco Ramon, and... some random guy who was impressively good with curved swords. The random guy knew he was a random. But he was a random who maybe might be able to join a bond.

And since they'd found a lot of emphasis on how the bond needed maintenance, preferably daily, they thought it would be temporary.

... it's never temporary.

So Barry explained all this and how the bonding part worked and then he got naked.

... pretty sure the fic of this would be popular, with a slightly tweaked cast list.

So, bonding happened, in all the available combinations.

This was made possible partly by the designs inset in the floor. Which were a sort of hexagonal pixel grid made of sliced sections of color pencils. The wood is a traditional wand material, the colors less so, but each dot could be made of all sorts, so you could get super complex workings going on.

... no I'm not going to write up the bonding today.

But when they were done, they could hear each other at least all across the city, and showing a design to Len got Cisco level comprehension, with Len's tactical sense. And that was just the beginning, they had a lot more to learn from each other.

Mick and Len were used to just feeling really in synch and not needing whole sentences to figure each other out, but that was like texting compared to the full on experience they could get from each other now. Which was kind of like drinking from the fire hose, so they suddenly spent much less time together and latched on to others instead. Mick and Cisco, Len and Barry. Random guy is still random, it was kind of sad, there were fears of being a redshirt. But everyone got superb at hand to hand. Still, Barry kept trying to include everyone, but he also wanted to spend time with Iris, because wife. ... you kind of have to be Barry to physically manage that. Recovery times are otherwise an issue. Except everyone would get just a little share of his healing, sooo...

You'd think Barry and Cisco would be the tightest, being relatively emotionally available and actually liking each other, but they actually found the sex parts weird and Cisco was the only one with an emotional 'we're cheating on Iris' hangup, and so they mostly bounced into other orbits. Which seemed to be working out.

Except, all that about maintaining the spell? That'd be because if it gets wonky, it gets wonky for *everyone*. Any weird feelings either get dealt with or bounce back and forth until the whole group has them. And Len's first reaction, be cold and walk away, don't warm up to people, way too dangerous to care... well usually it gets balanced by Mick's fire or/and Barry's persistence running after people, but, those are now conflicting feelings on the *inside*, and then it gets weird. Random guy is still feeling shut out, except that means *everyone* starts feeling like they're shut out, spare, surplus, rejected, which compounds on the fact Len is consciously trying to reject them and emotionally as wildly possessively attached as he ever has been, as if they're all Mick now, which he can't always deal with when there's just one of it. Oh, and Cisco's feeling they're cheating? Yeah, messy.

So now they either have to deal with their emotional problems or... well, not deal with anything, because it's going to get loud in there.

The bond isn't temporary, it's *tricky*, and using it to force trust is pretty much their worst idea ever.

But it totally could work out, they've got the framework, especially if someone notices that it doesn't all have to be sex.

And in the dream Barry specifically had a conversation about Iris about how he was feeling bad because if he's poly now then shouldn't he just, like, love everyone the same? And that needs sorted out, because no two couples are the same, he needs to realise what each specific relationship means to him and work on it as its own thing.

So it's a whole thing about sex and communication and how you can't rely on sex, except with soulbonds and superpowers and being able to be five or six supergeniuses who can work at some level of superspeed even if it's just by sending Barry to read books and then redistributing the new knowledge so they each hold on to parts of it even while it mostly fades.

Many advantages, with the disadvantage of actually requiring open and honest communication about emotions.

So, team.
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I finished watching the first season of The Flash.
... I did not want to because I am not in a mood to find Eobard Thawne screaming and dying a happy ending. Deserve isn't the point. There's a lot of bad packed in to that one moment, and suffering.

One way to read Eobard Thawne is to assume he's basically a creep, Read more... )

and he's probably just a dick who blames other people and lashes out.

... but what if he wasn't?

If Barry in some future episode can persuade even his worst enemy he's a real and true hero, acted correctly, no reason to hate this version of him
well that's a pretty big heroic win
especially if he wins over his enemy so now there's even more speedsters.

But canon doesn't prioritise like that.
... probably.

ugh, who'd be a villain fan, so seldom the directions we'd want...
... but fun to think...
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The problem with Reverse Flash - not that there aren't a lot of problems, but the problem for him achieving his goals his way even - is summed up by him saying he's out to get back everything that was taken from him.

Because nobody took it from him. In the timeline as it exists in season one, nobody but him took it from him. He lashed out and trashed the foundations of his reality, and lo, his reality was indeed trashed.

The thought that could have saved him - at any time - is 'oh, hey, my bad, I did that'.

If he never has that thought, he's trying to fix the wrong problem, and it doesn't matter if he's a super powered genius if he can't see that.

And that is what is so frustrating, because he so very nearly has a point, but he fucks it up right there.

Which is pretty classic abuser stuff. Being a twisty manipulative asshole who never saw a problem he couldn't pin on someone else. It's always someone else's fault, and then he sets out to destroy the someone else.

And he will forever wonder why it never makes his problems go away.

Even though he's had fifteen years of evidence that the Flash was not the problem, because without the Flash, oh hey, everything is worse.

... to be fair, from what I've heard of future seasons, Barry trashes the foundations of his own reality too.

But Barry is very much a guy who will think 'it's my fault' from a standing start, so he is very much ready to take responsibility there.

His misattribution is that victim blaming thing he only does to himself, where everything a villain does against him is somehow Barry's fault, even when he was a small child and logically not really responsible for much of anything. It's a weird way of feeling in control. But it seems like it's part of why he keeps reaching out to his villains, because if they're his fault, they can be his fixing too.

... but that part won't work until he can see their real motives straight either.

Flawed characters, the makings of tragedy.

... even when the tragedy is they stay assholes...
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
Watched Rogue Time.

Usually I watch this for Mick and Len, who remain fascinating, but this time watching all the episodes in order, Eo!Wells remains a mass of contradictions that have my full attention.

Read more... )

I've seen people being sad about Eo!Wells because the person he was pretending to be was entirely a lie, so we lost that person. Which, okay, possible. But it's also possible he is who he pretends to be, just with an agenda, a cheerful approach to other people's mortality, and a nasty temper. And then he takes more figuring out.

And so much of the morality of time travel depends on the physics of time travel, and DCTV is never going to tell us the whole rules of that.

But it's like with the Legends - the Time Masters were supposed to be guarding the timeline, but decided to change it to specific advantage. So Time Masters get blown up by Legends, for freedom. But then that makes things worse in some different ways so the Legends have to run around fixing the timeline instead. And they make some specific choices about which bits can and cannot be altered, and they don't always seem to be real conscious about it. And then some choice I can't be having with, but haven't seen the episodes for yet. And then whatever they do with next season, which will be... interesting. But their attitude to time travel has changed as they go along, so they have to have been doing the wrong thing pretty often.

And maybe Eo is like that.

But also maybe not.

... I am aware this entirely depends on what the writers want to do with him, and they're unlikely to do much with him on account of paradoxing him out of existence, but that's not the interesting bit.

And now I've got to get ready to go do the shopping, which is in local shops only because Norfolk Show, which means no getting my apple food, which means slight sulking. But I can find and consume many forms of chocolate so I'm sure that'll work out.
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Just rewatched the season one ep with Mardon and the tsunami.
Thawne is such a dick.
Read more... )
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While rewatching Flash season one a lot of the fun is seeing how
Eo!Wells so very seldom lies.
He knows very well the listener is going to take it the wrong way, and the writers know we know pretty much enough to notice, and it's just so much fun.

Add to that that he's the kind of guy who can sit down and make a fifteen year plan to restore his worst enemy, because necessary
and he's just... he's my favourite
Read more... )
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Eobard Thawne’s personal timeline was logically impacted by the Legends when they got the Armageddon virus released five years early, in 2147. That meant it’s before instead of after his birth. Mass casualties would decimate a different set of people, potentially killing his parents, definitely removing people he would otherwise know.

Per Degaton’s reign was accelerated and if his reach was truly global Eobard grew up under his rule, or rather Savage’s, after the betrayal. He’d have been 15 in 2166, when the Legends took out Savage. He’d be 24 in 2175 when the Time Masters say the Thanagarians invade.

... do they still do that?
I have no idea how that end of time is meant to look now.

But what could it have looked like before?

Read more... )

Still, the future the Legends fought to change might have very little resembled the one Thawne came from.

Or it might have all the clues to piece together a number of interesting personalities for him...
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
He’s got stashes of almost everything he’s ever stolen, everything Lisa didn’t need and he didn’t need to live on. Like me when I ended up with a bedroom packed full of catalogs and ancient computer parts, so I found a desktop tower under a guide to windows 98 under a Next directory from 99. In 2014. Because You Never Know. It might turn out crucial later. It might be the one thing you need. And even the money, it’s rainy day money. So what if there’s flooding, it can always get worse. So he lives in warehouses and safehouses and hides the really important stuff so he can’t get arrested with it on him, and so many shiny things are just stashed someplace, for later, when he’ll really need them.

His pockets end up full of little trifles recently in other people’s pockets, because it helps him think. He wouldn’t say it keeps him calm. (It totally is about keeping calm.) The oldest lessons are the hardest, and the old skills need keeping up, even when lifting wallets hasn’t exactly been his day job lately. (It used to be. And when it wasn’t enough, they went hungry. Bigger things are better now.)

He plans like I plot, endlessly, elaborately, doing all the research he can get his hands on to fill his days, then filling in elaborate contingency plans when it might more usefully be time to sleep. And he’s very, very good at it. And the longer he goes between jobs the more he has the itch to prove that again. Because inside his head it’s tick tock clockwork, until it isn’t, until ways it goes wrong are all he can see, and he’s long since learned the point where he has to act or be frozen.

The Waverider messed with both of their heads, Mick because he couldn’t burn anything, Len because they never knew what they were going to do next until they were in the thick of it. This is a guy who knows response times to the second all over Central, who cases the place twice even when that gets attention, who spends months learning to take his equipment apart and put it back together before he uses it at all. Full tilt blindly is not his favoured way to proceed. And he is good, but not that good : they lose crew. They lose Mick, to torture prison, and nearly other ways. And it’s because the plan can’t keep up with the random factors. Because however good he is, he’s not good enough.

So he stashes Mick, somewhere safe, for later.

Which does not work out well for them.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
I have finished watching nineties Flash.

It wasn't very good.

The last three episodes had Read more... )

Trickster's part could still have happened with very little alteration because 'Prank' fixating on him is not Flash dependent. So what I wanted to know as possible background for new Flash is now known.

But I'm kind of frustrated that all those parts didn't go together to better effect. It could have been a lot better.

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I watched the one with Mirror Master. It didn't use any mirrors. It went to a fun fair only to ha e a static conversation that could have happened anywhere. It didn't have funhouse mirrors or a chase through a mirror maze. It did, eventually, have like a shaving mirror set up to bounce a laser for a death trap, but I got the feeling they were like 'oops no mirrors' and just chucked a mirror in for no readily apparent reason.

Unfortunately that is fairly representative of the level of skill as foes into the writing of this show. They keep missing the slow balls amd it's sad.

Also they had a genius discover a fire, fail to follow basic fir safety instructions such as hitting the fire alarm, and then take the sudden appearance from thin air of firemen at face value. A genius. And a woman. Guess which weighed mor on the plot here?

Also for a woman Barry always says is his partner getting him ot of trouble she don't do a whole hell of a lot.


Also a different woman kisses Barry every week and yet Tina is still supposed to be some kind of romantic interest? Ugh. How do they think women work anyway?

And they had a girl criminal in this one, introduced by looking at her cleavage as she types and hacks into a computer system. Guess which is more important to the plot after that point? :eyeroll:

I'm bored and sad of this show. I cannot lower my expectations enough to find it fun.

I just want to take all the elements of this one - mirror master, illusions, girl from high school, deception, vanity... and whatever was going on with Tina's subplot with her mum, that was about her being very self centered but then they said a couple sentences and hugged so it's all okay now... what would I do with that... both women are seeing in the other the reactions they actually had? Imperfect mirrors of opinions of those close to us? How parents want a little reflection and get a person instead? Something. And the high school bit of Barry's plot gives us nostalgia and ... well, high school, for all the messes that had. It's like Tina's plot had all the right ingredients but didn't do anything with them. I don't know. But I do know that Mirror Master should use the actually mirror based parts of his powers, even if they're going for a high tech feel instead of the pure weirdness that could bring.

It's frustrating when I feel sure I could brainstorm something better in a half hour than they actually got money to make.

Yes I'm adjusting for the nineties, even so.

Not many episodes left to go but it's so annoying I keep only watching one a day so it's taking forever.
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I purely don't understand stories that treat clones as something different than humans. I mean there's a person right there in front of them, how on earth does it matter how they got there? Except in terms of experiences a forced growth clone who has never left the lab is indeed very different, so I guess I mean I don't understand when they're treated as inferior or less worthy of human rights or in any way less worth mourning.

But we got a one off episode with a clone Barry, and all Barry got from it was a sense of his own mortality, not any lingering grief for his short lived brother-son. Twin made from his dna who lives only a short while is just a kid and a relative. Why the bit in the middle of the story where they treat that as not obvious?

Well so they can have the drama of that resolved with the happy we're all people two or three sentences. And then undermine that by never treating him as such.

Every way to look at another person and doubt they're just as much a person as you are? Treating people as things? That's where evil starts.

I'm also super tired because they did the thing where he has the mind of a child in an adult body. So it's basically a story about intellectual disability. Without it knowing that. So they do the reinvent the wheel bit and the whole story is oh no he has adult strength but doesn't understand consequences, how unprecedented, there is no guidebook, what do what do. And then they duck responsibility and resolution for that and just kill him off. Because having a sad tragic reference to Frankenstein and sacrifice to save the progenitor is a nice tidy story with an awww at the end, and committing to spending a fair chunk of your life helping him is not.

How about stories never again treat disability and mental illness with a good being killed, hmmm?
Yes I know this one was 1991 but it's not like it gets less relevant.

So blergh to this episode.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
1990 Flash isn't very good. Their version of Captain Cold isn't even punny. Also he's an evil albino mercenary who ends up frozen solid.

The reporter lady who works for the kind of paper who will print Flash stories before anyone believes in them was potentially interesting but they made her super annoying and 100% wrong. She sets a trap for the Flash so she can interview him without thinking through that she sets a trap for the Flash and there's a supervillain also trying to do that. Also she's super annoying and bad with people and tells lies a lot but thinks she's a great reporter. The episode is there to tell her to quit her day job. Because Flash knows best. Blah.

Also the thing where a different woman tries to date Flash every episode is just really tiresome. But I want to make speed dating jokes.

Deadly Nightshade was funny because Nightshade is the local pulp hero, long retired, Flash has been getting advice from, and Deadly Nightshade is the grimdark reboot version. Like Nightshade has knockout darts and Deadly Nightshade has machine guns. Watching it I just kept thinking that if this was a *late* 90s show the grimdark reboot would have replaced the other one, instead of getting carted off to prison being called crazy. The story had a psychiatrist called Rebecca Frost who was there to call the Flash an adolescent fantasy and be proved wrong by the end. Again with the clumsy telling off of women trying to do their jobs. She would b much more interesting actually trying to understand vigilante psychology and launching a discussion about values.

Mostly the ep was interesting because Richard Burgi, Jeri Ryan and Denise Crosby.

So now I'm thinking of Deadly Nightshade getting out of prison and trying to show modern Flash how it should be done and launching a discussion about vigilante morality with better writers.

I keep trying to adjust my expectations down to the cartoony thing Flash keeps trying to be but I keep on thinking it's just bad anyway. Boo.

Want to use it for parts still, more or less, but it's not a rich vein.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
Just watched an episode where nineties Flash did a time travel
to the faaaaar distant future
of 2001

His nemesis had taken over as mayor of central, renamed the city, and turned it into a whole black and red themed police state which smashed windows and banned sales of Flash toys.

I was having a whole suspension of disbelief problem, I've got to admit.

I mean his nemesis is an ordinary criminal who led a bike gang. I know what they were going for with speed and all but it's not exactly in a super's weight class. So then the idea is a regular criminal guy can take over the city in ten years. Solely because the Flash went away. The cops are other processes of law and government are useless. And then he can run it without interference. Despite the mayor of a city not actually being the ultimate arbiter of law and order. I mean he was zapping brains with a brain zapping machine without a trial, even in America that needs more paperwork.

So they hadn't really sold their setup there.

Also they said this nemesis dude got let out of prison on a technicality. Would that be the one where he was 'arrested' by a vigilante, who threw him in the electric thingy, and then probably didn't turn up to the trial? Because those seem like relevant technicalities to explore. But no, it didn't get that specific.

If you're going to do a 'world without Flash' flashforward this isn't the way to do it, basically, and this show's idea of a nemesis needs work.

... though to be fair I'd probably believe it of Mayor Snart.
... but Len isn't in the habit of confessing to murder in the middle of a crowded restaurant, so, slight difference in competence there.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
Episode thirteen, where Tina goes evil because of a short circuit and a bad dream, is actively terrible. I mean even by 1990 standards and compared to other episodes. It was super extra rubbish.

If you're going to turn someone evil it's an excuse for them to use power and say repressed things like they'd be too polite to the rest of the time. So the bit with the poison dart because Science was the only vaguely interesting bit. Nothing else she said or did had to do with her regular personality, unless interrupting Barry's date was supposed to be the thing. But that was so cartoonishly awful. And I know this is far more episodic than I'm used to but to do all thwt with no repercussion and all the personal stuff dealt with by ignoring it is both ridiculous and a waste of a plot. I mean she even got a tattoo and then said she'd just remove it in the lab.

The tattoo should be a reminder of things you can't take back and the evil she's capable of if she lets rip. She should have to transform it, like by getting it made colors or added to. There's no point getting a symbol and then just vanishing it.

Supergirl did turning bad much much better.

This one was rubbish.

And also extra creepy : Tina goes bad necause she and Narry are hooked up to a machine and he thinks of his nightmare and she starts acting it out. She goes good again because reconnected to the same machine Barry thinks of her crying and being sorry and saying she's his friend again. Okay, but, did he 'cure' her or did he just reprogram her?


Episode 14 was just an excuse to have Barry be cute with a baby. Tina was more useless with a baby than Barry was, since he was initially competent enough to impress the mom, which is kind of refreshing considering. Aside from proving they'd need lots of training before they should try that again there weren't much else to it. Could have put more work into some angle about the creepy bad guy wanting to breed the perfect heir so he picked a girl he didn't love and tricked her, then when he saw the Flash he wondered if the powers were genetic, but apparently bad guys wanting a super for a breeding program is not a twelve rated plot. Eh, babies are cute, wouldn't mind a plot with Barry having to look after a baby in modern Flash, only he should stay good at it. Also the bit where he calmed all the babies at super soeed shouldn't really work, that would be a bit stressful, so really it should be a time Flash needs to slow down.

... I watch these things solely to pull them apart for bunnies already. Oh well.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
I was thinking about my current reading habits, which involve a lot of superhero/supervillain pairings who have really screwed each other over, and I was trying to think of another excuse for being into it... because mostly I feel I should be cheering on whenever they lock the villain up again or end him forever somehow, rather than sympathising and feeling vaguely upset. But I thought a thing.

Okay, so, this is wanky, but : patriarchy.

Read more... )

If life is already heavily populated with varying degrees of enemy, it's satisfying sometimes to see a story work through all the issues and turn them into assets instead, is all.

Or possibly I just have a thing for power. *shrugs*
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
I have finally got as far as the one episode of the Flash that somehow had to happen without the Flash in new canon. The Trickster. And I think I like it, on its own and as lightly edited backstory, even though they could not have made him more Joker Lite if they tried.

It has basically the same plot as Batman, the 1989 one.

Clown Prince of crime gets crush on vigilante superhero's girlfriend, parallel to the whole 'I made you? You made me first!' argument. With the resolution that it's no more the costumed vigilante's fault that costumed supervillains get nemesis-crushes on him than it is the lady's fault she gets a creepy stalker.

Trickster is super dark though. Read more... )

This episode has layers and parallels and stuff snout identity and I kind of want to dig into it more. Which is pretty new for this version of the Flash. A+ episode, considering.

Most eyewateringly awful appropriate to the character costumes ever though.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
1990 The Flash was not very good. Characters don't spend much time being people, their off duty activities always exist only to set up the plot, the only woman regular or repeating is Tina, and everyone seems over invested in reading her and Barry as romantic. Including the writers, who put her in formalwear a lot. I don't think she has solved anything with science yet. I'm bored.

It has a weird aesthetic too, cars are from the forties and fifties. Which is very Earth Two.

There was a bad guy from the fifties who cryo froze himself to see the future and then plugged himself in to the TV and uploaded himself. That had a lot of elements from all over that didn't seem to fit together. Like him staying young forever, as if he was a rerun. Filled up some lines of dialogue, contrasted with the old dude coming out of retirement, difficult to feel much about it. I guess it tried?

There was a thing in the lab where Tina had to wait to be rescued rather than sciencing the hell out of it. Boo.

And there was a story for Julio the sidekick, which was full of jazz and black people and crime and prison. :eyeroll:

I'm not finding much to keep my attention. Oh well.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
Ate a food, watched a TV

1990 Flash episode Child's Play is kind of epic terrible.
And features a very young Jonathan Brandis, which I was not emotionally prepared for. I mean I know old TV has dead people in it, but that was a whole set of sad I was not expecting today.
So it's a very incongruous set of feels.

The episode had evil hippies. Evil hippies with hallucinogens. Evil hippies with highly addictive hallucinogens they were going to spray the whole city with, so they'd all be instantly addicted and have to pay for more drugs or die.

TV is really, really bad at drug addiction, but even so, that was awful.

Read more... )

And then he beat the evil hippies with rock music.

No, really.


This is a level of terrible I had not anticipated.

And yet, because actor, feels.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
This episode was boring because it was about a father not understanding his scientist son until he sees him punch a guy a whole lot. Like, if that's the only kind of bonding experience works for them, ugh.

Also without the Flash the senior Allen gets dead, so that's depressing and not much of a plot bunny.

I just wonder why they wrote it this way. Like, the episode wasn't 'see dad, forensic science is as valuable to police work as shooting people'. Quite the contrary. It was 'scientists just want to beat a guy's head in too'.

I am not there for that message.

Also the bit at the end when the elder retired cop goes chasing criminals one last time... isn't that basically vigilantism with grey hair? I mean chasing guys around with guns is not generally approved of, right? There's supposed to be education and oversight and reviews of authorised individuals for that kind of thing.

Blergh. Boring episode with nothing interesting for women to do.
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
Odd episode title, don't see how it connects. Read more... )

This one is a bit tricky to harvest for 2014 Flash plot bunnies because if this tech is even possible in 1990, if as much of it is on the record and can be duplicated as seems in this episode, the world would not resemble the Flash world by the time it caught up.

Also it's only useful for plots that are of no interest to me.

I am so bored of mind control. It's never used for anything more than making one person feel really guilty while everyone else tells them it's not their fault. What's the use in that? A good amnesia story can show the team how they'd look to a good person they trust who is suddenly lacking context. There's a ton of mileage in that. But a straight up puppet just ... all it is is 'I was only following orders' but as if that actually justifies anything. We have free will, we need stories about actually using it. The other sort seem to be about soldiers coming back all traumatised cause they hurt people, but everyone else is supposed to let them off the hook. It's creepy.

Yes I say that as someone who likes Hawkeye and the Winter Soldier. I can see the problematic.

Also, if I was talking to them, I would never say it wasn't their fault or they couldn't help it or they couldn't do anything to stop it. Because seriously, if that's what they're hanging their sanity on, what are they going to do next time? There are multiple technologies in their world that can make there be a next time. If everyone forgives them because they couldn't do anything, if the only reason they can sleep at night is it wasn't any of their doing, that's like rewarding them for disassociating, like it's not their fault as long as they just sit back and watch in their own heads. Sod that. Fight. Teach them to fight. Sure they were under duress, but what can they do under the same pressure next time?

Even if the actual logical answer is 'sod all actually' that's not an answer they can live with, so find a better one. Fight when you can, ask for help when you can, stay the hell out of the other guy's range if that's the best you can do. Learn how to resist psychic powers, that's got to be a teachable skill in verses that have them. Weaponise being a stubborn arsehole. Whatever. Just hand them a toolkit, not a white flag.

Because why are these stories supposed to help the viewer?
What about them can?
Sure there's always arseholes trying to control you, but what are you going to do about it?
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
episode four honor among thieves
opportunity for a Highlander xover
since it has Liz Gracen playing Celia Wayne, a former archaeology student who attempts to steal a gold and ruby 'mask of rasputin', which has some kind of weird flashy effect when light hits the eyes just right that they didn't do anything plot relevant with.
It was a bit sloppy for Amanda but the planning was all by her boyfriend, who set up multiple thefts across town to draw the police off then just tranq shot the guards and smashed the case.

Without the Flash that one would work. Read more... )

This version of the Flash has him moving objects at super speed much more frequently. He picks stuff up and builds walls from gold bars and other stuff that everyone could do but not that quickly. So far no lightning punching or secondary powers like air vortices. Just doing ordinary things fast and running besides cars like they were stopped.

Also he put a duvet on a car windscreen to make it stop and seemed surprised when it crashed and he got broken bones. Still learning.

Adding this archaeology professor as some kind of second dad that influenced him to be a CSI is a bit odd. Did people need influencing then? Was it not the cool science of choice yet?

The bits where they get the computer to do... anything remain super weird. Like, to get files from multiple cities they had paper files sent in the post. But the computer can match a picture to a file? Someone doesn't quite grasp what the cutting edge looks like and I'm not sure who.

I'm not entirely enjoying watching the episodes for themselves, they're too 1990
but pulling them apart for parts is kind of fun.

1990s Flash

Nov. 5th, 2016 08:12 pm
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
I have watched three episodes so far and they are, ironically, so sloooooow.
It's because older TV is slower. I know this. There's a predictable relationship between age and slow.
but most things I watch that are old enough to be slow are things I'm used to. This is new to me and I'm tripping over the epic clunkiness. acting styles have changed like woah since then and all.

I'm interested in the plots partly because the presence of Trickster in the new 'verse suggests that at least some of what happened in the 1990 'verse still happened there, just without the Flash or metahumans, within the logic of the new show. Some stuff would change, like the simple presence of Star Labs, if I've understood right how Wells was related to its founding. Tina McGee works for Mercury labs. But the rest can be cannibalised for parts. And those parts won't be much relevant to Barry Allen, but Leonard Snart was probably 18 in 1990, maybe a little older, so if you want background to his awkward teenage criminal beginnings then tada, this is it.

And so far two out of three episodes involve fun with fire, so, this is very much Mick Rory's idea of fun too, and he'd be a couple years older.

... except Legends of Tomorrow had some interestingly inconsistent idea of ages for all of these characters, so apparently that time they rescued young!Mick from the Pilgrim was 1990, which would be... younger than the actors for no good reason. And not fit real well with young!Len either. Messes.

But, useful 90s bits:
Read more... )

I'm increasingly frustrated with my apparent role as plot bunny generator rather than writer now, but hey, many bunnies.

In other news it is Kabooms Night, aka Bonfire Night, and I am displeased. But pretty chill about it, on my scale. So that's nice.


Nov. 2nd, 2016 12:26 pm
beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)
I have started watching The Flash
the one from 1990.

It is so very from 1990.

It is also trying really hard to look like the Batman movies, but with more glowsticks.

I keep thinking 'but why is the lighting... 1990' or 'but why would they need to... 1990'
and it's a trip
because I'm realising consciously how long ago 1990 was
even though it's a perfectly reasonable year I can actually remember and I remember getting posters for this show.

It's like when I watched time travel or flashback shows in the 90s and they went back to the 70s. Or, actually, sometimes, 60s.

And now I'm realising how my parents must have felt, that weird combination of 'but it wasn't that long ago' and 'shit that was a long time ago.'

Most stuff I watch doesn't give me precisely this feel because it's either trying to be different planets or I'm used to it or both. This I haven't watched since it was first on and it's trying to be like cutting edge CSI stuff and I just... 90s.


It's weird stuff like realising the on screen text is so huge because the expected screen size was so small.

Also that the graphics on their computers are a bizarre mix of far too good and really really bad.
Why would they even make an animation of a leg muscle to convey that data?
Because moving images show just how cutting edge the computers are, because 1990.

The fashion, on the other hand, has some characters making me frustrated I can't just go and buy their outfits. Because I have become that person whose sense of style froze when they were a teenager. Though I'm specifically missing trousers that aren't skinny and shirts that cover everything a shirt should and nice useful waistcoats, so it's not exactly style, more my usual frustration with the apparent fabric rationing in ladies wear.

In opinions that are actually specifically about the show: they gave him a brother just so they could kill him off and leave Barry all Dark Vengeance. He electrocuted the guy who did it. But it didn't kill him, somehow, because... that's the line that makes Flash a bad guy? It's okay to throw him at the electric pylon if he's still breathing after? I'm entirely blah about this. I mean I don't see why him being a CSI isn't motivation enough without stories that keep killing off his relatives. On the other hand it could be several kinds of worse, and there's whole numbers of living relatives around, and they didn't kill anyone's mother, so I'm left actually more frustrated with more recent versions.


beccaelizabeth: my Watcher tattoo in blue, plus Be in red Buffy style font (Default)

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