Being Human
Feb. 16th, 2009 12:57 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
beccaelizabethGot interesting again.
I have some problems with it with the way it goes between squirmy embarrassment (usually of George) and predictable even if suitable plot developments. But this week it managed 2 that I didn't see coming and should have cause they fit perfect. Scars and cars.
Nina has secrets too, interesting, but mostly George will... get to react... er, now I'm looking at myself carefully for thinking that's the Main Point, because that's again giving a woman painful backstory to motivate a man. That would be a mistake. Too easy though. ANYway, that was an interesting moment, and played just exactly right, not too much or too little.
And then the car... I was counting down to narrative causality moment where Mitchell gets to save the kid and prove he's not a monster. Clearly I didn't have my brain on. Because it all happened like I expected up until Mitchell ran for the kid... and didn't get there, because in most ways he's only human. In this 'verse the only difference between vamps and the rest of us is the blood. And the immortality, which is obviously a big one. But there's no hint of super speed or anything, so here he is, first to react, but still not enough. So the only thing he's got to offer, the only way to save the kid, is the way he rejected in the first episode as not-saving. The way the guy that made him brought up in so many words. Parents would want to save their kids. So Mitchell offers, and she accepts, and... there's so many layers of complicated Bad there. Who gets to make the choices, who wanted to be what when they grew up, all sorts of interesting. So it fits in seamless, it's where the story was going, but I didn't see it coming cause I was watching the other stories. This is the one where they are monsters living among monsters, and none of the lines are that clear.
And now we get to watch them fall.
Annie's story was in the background, but we got a key step here. She's got power, she can make stuff go boom, and she's going to use it. Or misuse it, depending on where you're standing. There's a great mixture of being annoyed at Owen for killing her and being annoyed at Owen's new girlfriend for replacing her in Owen's life. I don't think one little photo burning session is going to erase that ambiguity. But it did show up clear, when she fades into being part of Owen's life, she's invisible, but then she takes her own life back and it isn't Owen's, and people can see her. There needs to be some getting over Owen so he doesn't define her in a hating him way, and there needs to be some understanding and sympathy for other women, because the hate there is a symptom of still wanting that life she has. And then once she's moved on... guess there'll be a choice. Time to have her own life, as a ghost, or time to move on?
George we see is willing to accept any guilt or blame thrown in even his general direction.
*sigh*
So story progress happens, and nobody just stays stuck or stays at a particular sort of progress, and it is complicated and dark and kind of bleak and depressing. But also with making friends and connections. Interesting.
In much more shallow news... when there were those Mitchell flashbacks in the different costumes, how many of those made you guh?
... yeah.
And not a one of them the cliche Dracula. Nice.
I have some problems with it with the way it goes between squirmy embarrassment (usually of George) and predictable even if suitable plot developments. But this week it managed 2 that I didn't see coming and should have cause they fit perfect. Scars and cars.
Nina has secrets too, interesting, but mostly George will... get to react... er, now I'm looking at myself carefully for thinking that's the Main Point, because that's again giving a woman painful backstory to motivate a man. That would be a mistake. Too easy though. ANYway, that was an interesting moment, and played just exactly right, not too much or too little.
And then the car... I was counting down to narrative causality moment where Mitchell gets to save the kid and prove he's not a monster. Clearly I didn't have my brain on. Because it all happened like I expected up until Mitchell ran for the kid... and didn't get there, because in most ways he's only human. In this 'verse the only difference between vamps and the rest of us is the blood. And the immortality, which is obviously a big one. But there's no hint of super speed or anything, so here he is, first to react, but still not enough. So the only thing he's got to offer, the only way to save the kid, is the way he rejected in the first episode as not-saving. The way the guy that made him brought up in so many words. Parents would want to save their kids. So Mitchell offers, and she accepts, and... there's so many layers of complicated Bad there. Who gets to make the choices, who wanted to be what when they grew up, all sorts of interesting. So it fits in seamless, it's where the story was going, but I didn't see it coming cause I was watching the other stories. This is the one where they are monsters living among monsters, and none of the lines are that clear.
And now we get to watch them fall.
Annie's story was in the background, but we got a key step here. She's got power, she can make stuff go boom, and she's going to use it. Or misuse it, depending on where you're standing. There's a great mixture of being annoyed at Owen for killing her and being annoyed at Owen's new girlfriend for replacing her in Owen's life. I don't think one little photo burning session is going to erase that ambiguity. But it did show up clear, when she fades into being part of Owen's life, she's invisible, but then she takes her own life back and it isn't Owen's, and people can see her. There needs to be some getting over Owen so he doesn't define her in a hating him way, and there needs to be some understanding and sympathy for other women, because the hate there is a symptom of still wanting that life she has. And then once she's moved on... guess there'll be a choice. Time to have her own life, as a ghost, or time to move on?
George we see is willing to accept any guilt or blame thrown in even his general direction.
*sigh*
So story progress happens, and nobody just stays stuck or stays at a particular sort of progress, and it is complicated and dark and kind of bleak and depressing. But also with making friends and connections. Interesting.
In much more shallow news... when there were those Mitchell flashbacks in the different costumes, how many of those made you guh?
... yeah.
And not a one of them the cliche Dracula. Nice.