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quinara(Non-Brits who don't know what I'm talking about, I'd recommend tracking down The Thick of It if you can, though I only watched the lot of it recently. It's like Yes, Minister updated for the modern world with more cynicism, more rawness and much more swearing. And it has Peter Capaldi in it.)
That scene with Malcolm and Terri just completely got to me this episode. It was such a flip-change inversion of the expected formula, what with Terri 100% justified (rather than the qualified justification that everyone usually has) and Malcolm revealing rather than deflecting. It was so perfectly timed in the series as well, because I remember thinking last week that Malcolm seemed to be spending more and more of his time at fortissimo without a break. It felt almost like laziness in the writing that he was so one note, and yet now it's all clear why. (Heh, I may have had a minor shipping moment in that scene; it was very strange.)
I do love Nicola as a character simply for showing how you can't be a woman in politics without being a WOMAN IN POLITICS with a husband and children who not only become chess-piece-appendages in Malcolm's game, but also leak into the story in a way that no one else's family really does. Of course we have a scene where we hear what Nicola's husband thinks about the supposed leadership bid - because that's the question we would inevitably ask of a woman in that position. (I think the fly-on-the-wall camera-work is one of the best bits of this show - that subtle reminder that as an audience watching a programme about politicians at war with journalists we are aiding, abetting and adding to that war as people watching it and wanting to pore over its twists and turns.)
Ben stirring up shit because he's bored and generally nasty almost sums everything up.
.
I was writing my second last essay of term this evening - need to finish it for tomorrow by midday. I'm completely phoning it in, but I amuse myself every now and then by producing sentences like "It seems not only possible but easy and necessary therefore to accuse Bèze in this poem of caring more about the self-representation and audience inherent in the performative ‘grief’ of epitaphs rather than faithfully representing and commemorating his subject."
.
ONE WEEK TILL DOLLHOUSE IS BACK!! :D
That scene with Malcolm and Terri just completely got to me this episode. It was such a flip-change inversion of the expected formula, what with Terri 100% justified (rather than the qualified justification that everyone usually has) and Malcolm revealing rather than deflecting. It was so perfectly timed in the series as well, because I remember thinking last week that Malcolm seemed to be spending more and more of his time at fortissimo without a break. It felt almost like laziness in the writing that he was so one note, and yet now it's all clear why. (Heh, I may have had a minor shipping moment in that scene; it was very strange.)
I do love Nicola as a character simply for showing how you can't be a woman in politics without being a WOMAN IN POLITICS with a husband and children who not only become chess-piece-appendages in Malcolm's game, but also leak into the story in a way that no one else's family really does. Of course we have a scene where we hear what Nicola's husband thinks about the supposed leadership bid - because that's the question we would inevitably ask of a woman in that position. (I think the fly-on-the-wall camera-work is one of the best bits of this show - that subtle reminder that as an audience watching a programme about politicians at war with journalists we are aiding, abetting and adding to that war as people watching it and wanting to pore over its twists and turns.)
Ben stirring up shit because he's bored and generally nasty almost sums everything up.
.
I was writing my second last essay of term this evening - need to finish it for tomorrow by midday. I'm completely phoning it in, but I amuse myself every now and then by producing sentences like "It seems not only possible but easy and necessary therefore to accuse Bèze in this poem of caring more about the self-representation and audience inherent in the performative ‘grief’ of epitaphs rather than faithfully representing and commemorating his subject."
.
ONE WEEK TILL DOLLHOUSE IS BACK!! :D
(no subject)
Date: 29/11/2009 01:10 (UTC)(no subject)
Date: 29/11/2009 09:11 (UTC)(no subject)
Date: 30/11/2009 03:18 (UTC)(no subject)
Date: 30/11/2009 10:12 (UTC)