My Friday night shows make me *WAFF*
Smallville, 'Kent':
--"There was a life here. A family." Kudos to Welling for playing Clark Luthor as genuinely distraught over the destruction of the Luthor mansion. In his delivery of that line, you can see the point of connection between Clark Kent and Clark Luthor, in that one of the qualities innate to Clark qua Clark, regardless of last name, is how much he truly values family bonds, and sharing in them. Clark Luthor may have hated Lionel, and he may have a...perverted...sense of what constitutes a sibling relationship, but he still defined himself in large part by the family group that nurtured him through his formative years.
--Bitter survivalist loner Jonathan Kent! Is not surprising in any way at all, really.
--Oh, Tess. Tess, Tess, Tess. *g*
--I loved Lois's kneejerk negative reaction to the possibility of Clark selling the Kent farm, and I loved that she explained her feelings to Clark the first chance she (thought she) got. And I really loved the final scene between Clark and Lois on the porch, because it was adult and vulnerable on both their parts, and they were eye-to-eye on the understanding of home as defined by people more than places or things, and the dynamic between them during that conversation was a multiverse of AWWWWWWWWWWWWWWWWWWWWWWWWW. *loves*
*~*~*
Supernatural, 'My Heart Will Go On':
--"Who's Celine Dion?"
"She's a destitute lounge singer somewhere in Quebec, and let's keep it that way, please."
Part of me is like, Celine Dion jokes? Really? What is this, 1999?
...but then the other part of me remembers long car rides with my mother during the mid-1990s with Ms Dion on an endless loop in the tape deck, and I am One with the mockery.
--CASTIEL, YOU DESPERATE BASTARD.
Okay, so the text of the final scene between Cas and the boys was all about how Fate's a cruel bitch with no regard for humanity. But they did darn well in pulling off the subtext/secondary text of that scene, in that we are clearly meant to interpret Cas's words about Fate to be him LYING JIMMY NOVAK'S PANTS OFF because he doesn't want Dean and Sam to know that he screwed the universal pooch by saving the Titanic in an effort to swell his army's ranks in Heaven's civil war. Because the scene between Cas and Fate and Balthazar put Fate pretty clearly in the position of Right, and Castiel pretty clearly in the position of Wrong. (Because, as everyone kept noting throughout the episode, dying bloody is a vastly different thing than never having been born.) I'm pleased that Cas is ashamed enough of his tactics to want to hide them from the guy he's in love with (I was gonna strike that out for comic effect, but hey, the show said it first), yet committed enough to his cause to have to be bullied into taking back what he did; that's a delightful plot and character development that I fully expect to be explored and exploded sometime down the line. :)
This content is also available at http://serrico.dreamwidth.org/705323.html. Comment here or there, whichever you prefer. (Over there, there are
comments.)
--"There was a life here. A family." Kudos to Welling for playing Clark Luthor as genuinely distraught over the destruction of the Luthor mansion. In his delivery of that line, you can see the point of connection between Clark Kent and Clark Luthor, in that one of the qualities innate to Clark qua Clark, regardless of last name, is how much he truly values family bonds, and sharing in them. Clark Luthor may have hated Lionel, and he may have a...perverted...sense of what constitutes a sibling relationship, but he still defined himself in large part by the family group that nurtured him through his formative years.
--Bitter survivalist loner Jonathan Kent! Is not surprising in any way at all, really.
--Oh, Tess. Tess, Tess, Tess. *g*
--I loved Lois's kneejerk negative reaction to the possibility of Clark selling the Kent farm, and I loved that she explained her feelings to Clark the first chance she (thought she) got. And I really loved the final scene between Clark and Lois on the porch, because it was adult and vulnerable on both their parts, and they were eye-to-eye on the understanding of home as defined by people more than places or things, and the dynamic between them during that conversation was a multiverse of AWWWWWWWWWWWWWWWWWWWWWWWWW. *loves*
*~*~*
Supernatural, 'My Heart Will Go On':
--"Who's Celine Dion?"
"She's a destitute lounge singer somewhere in Quebec, and let's keep it that way, please."
Part of me is like, Celine Dion jokes? Really? What is this, 1999?
...but then the other part of me remembers long car rides with my mother during the mid-1990s with Ms Dion on an endless loop in the tape deck, and I am One with the mockery.
--CASTIEL, YOU DESPERATE BASTARD.
Okay, so the text of the final scene between Cas and the boys was all about how Fate's a cruel bitch with no regard for humanity. But they did darn well in pulling off the subtext/secondary text of that scene, in that we are clearly meant to interpret Cas's words about Fate to be him LYING JIMMY NOVAK'S PANTS OFF because he doesn't want Dean and Sam to know that he screwed the universal pooch by saving the Titanic in an effort to swell his army's ranks in Heaven's civil war. Because the scene between Cas and Fate and Balthazar put Fate pretty clearly in the position of Right, and Castiel pretty clearly in the position of Wrong. (Because, as everyone kept noting throughout the episode, dying bloody is a vastly different thing than never having been born.) I'm pleased that Cas is ashamed enough of his tactics to want to hide them from the guy he's in love with (I was gonna strike that out for comic effect, but hey, the show said it first), yet committed enough to his cause to have to be bullied into taking back what he did; that's a delightful plot and character development that I fully expect to be explored and exploded sometime down the line. :)
This content is also available at http://serrico.dreamwidth.org/705323.html. Comment here or there, whichever you prefer. (Over there, there are
comments.)