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dagnylilytableSo far, 2011 is my year of dissertation stuff and catching up on old television, now that I'm out of Downton Abbey. I'm working my way through Wonderfalls (which I watched when it aired, but I was always too busy teaching to watch our DVDs), and rewatching Homicide: Life on the Street. My husband is into BSG, and I am not, which leads me to the fannish opinion behind the cut, as well as my thoughts on my Homicide rewatch. HLoTs spoilers through the entire run, though I just finished "Crosetti." And somehow talking about BSG led me to think a little about Alias, too.
I tend to tell people I prefer my science fiction/genre TV to have a sense of humor, either from the characters or the overall tone. So I never hopped on the BSG wagon when it aired, and I think I made the right choice for myself, knowing most people's attitude toward how it ended. I would find it all more watchable if it were basically Roslin, Bill Adama, and Saul and Ellen Tigh bantering, bickering, and trying to out-Machiavelli each other. With more jokes. In that way, it's sort of like my response to Alias-- I always found Sydney's parents more compelling, though the younger set were supposed to be the leads and our main source of sympathy and identification.
HLoTs still holds up remarkably well-- with added humor in unintentionally since Bolander comments, "I wish they'd bring back Hawaii 5-0." This time around I have a lot more appreciation for Kay Howard (though I loved her before), especially that her relationship with Russert is prickly even though she has a serious case of hero-worship. I find myself convinced that this would be true even without Beau in the mix complicating the relationship: male dominated professions (and even my own academic field, not as male dominated but still male-privileged), don't ususally make it easy for women to be allies, let alone friends.
One of the things about watching Homicide as someone who has dealt with co-workers (not true when I first watched it as an undergrad), is how much I wish I could work with a Meldrick Lewis. That core of decency is something I think academia could really benefit from.
I think it'smosca who put "Crosetti" in the genre of the Death Episode-- the ones where it's not about the character who died, but the death is used to showcase the group dynamics. And all of that is true, and I could go on for pages, but the thing I appreciate the most besides the ending is that they bring back Crosetti's protege, Thormann. HLoTs always had the best emotional continuity. And yes, my heart is still beating, because Frank at the end still makes me cry like a baby. I had to stop there because "The Last of the Watermen" is a sucker punch of a different kind, and I just can't take it today.
I tend to tell people I prefer my science fiction/genre TV to have a sense of humor, either from the characters or the overall tone. So I never hopped on the BSG wagon when it aired, and I think I made the right choice for myself, knowing most people's attitude toward how it ended. I would find it all more watchable if it were basically Roslin, Bill Adama, and Saul and Ellen Tigh bantering, bickering, and trying to out-Machiavelli each other. With more jokes. In that way, it's sort of like my response to Alias-- I always found Sydney's parents more compelling, though the younger set were supposed to be the leads and our main source of sympathy and identification.
HLoTs still holds up remarkably well-- with added humor in unintentionally since Bolander comments, "I wish they'd bring back Hawaii 5-0." This time around I have a lot more appreciation for Kay Howard (though I loved her before), especially that her relationship with Russert is prickly even though she has a serious case of hero-worship. I find myself convinced that this would be true even without Beau in the mix complicating the relationship: male dominated professions (and even my own academic field, not as male dominated but still male-privileged), don't ususally make it easy for women to be allies, let alone friends.
One of the things about watching Homicide as someone who has dealt with co-workers (not true when I first watched it as an undergrad), is how much I wish I could work with a Meldrick Lewis. That core of decency is something I think academia could really benefit from.
I think it's
mosca who put "Crosetti" in the genre of the Death Episode-- the ones where it's not about the character who died, but the death is used to showcase the group dynamics. And all of that is true, and I could go on for pages, but the thing I appreciate the most besides the ending is that they bring back Crosetti's protege, Thormann. HLoTs always had the best emotional continuity. And yes, my heart is still beating, because Frank at the end still makes me cry like a baby. I had to stop there because "The Last of the Watermen" is a sucker punch of a different kind, and I just can't take it today. 
