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dangermousieYou know, in light of John’s subconscious coming up with Aeryn as the rescuer, in WGFA, as a matter of course (and that is the closest he comes to believing this lunacy fantasy) I was thinking how much I love the fact that in Farscape, John and Aeryn rescue each other equally. It is not some sort of ‘princess in a tower’ fantasy with John rescuing the little woman (significantly, when there is one, it is not his but Stark’s, and designed to trap, and the Princess herself is a simpery, stupid version, not Aeryn at all), nor is it some sort of feminism-gone-amock, where the woman is always better, stronger than the man, or simply is decorative (I am thinking of the movie Ever After where the Prince was basically a male version of 1910s serial bimbettes, there just to look pretty and make the protagonist a suitable match).
In fact, Farscape avoids even the ‘woman is stronger fighter, man is more brainy’ dichotomy which some shows like (Battlestar, and Lee/Kara, I am looking at you. There is nothing wrong with this trope, of course). Nor is it John slowly becoming Aeryn’s protector as opposed to the other way around. No, once the steep learning curve for John has been met, once he has learned how to handle himself in the strange new awful-beautiful world, once he has gone a little insane, a little over the edge, John and Aeryn rescue each other equally.
I am talking in every sense of the world, from emotional and mental, to purely physical. He goes against Namtar in DNAMS, even though he hasn’t yet really used a gun, to get her back into a proper shape. She stands up for him in front of Crais. He goes down to the Gammack Base and bluffs a base full of PKs to get her medicine, and she overcomes recent, near-fatal wound to come down and get him from the torture place. They rescue each other on and off, on a regular basis, and that continues throughout, until the end, and neither becomes a dominant rescuer, with the other a person in distress: Crichton’s insanity of rescue in We Are So Screwed at the end of S4? Yes, so amazing. But so is Aeryn’s shooting of the Scarran War Minister who is about to kill John, in PK Wars, shortly after she’s given birth! Up through the end they are equals.
But this isn’t just about their physical rescuing. The emotional stability and help is there too: he is the one who starts her on the path of individuality, of owning up to a soul, but she is the one who is steadying him when he is going insane. He holds her when she weeps for Velorek and her betrayal, and she holds him when he weeps for the destruction he caused in WASS. They allow the other to see them at their lowest, and that is despite Aeryn’s in-born, and John’s hard-bought hatred of allowing anyone to see a weakness. He gets past her barriers and she, who is the cause of some of his, is also the one person who can get behind them, make him feel whole and human again (I am thinking of the scene after the bomb in S4 and his guilt, or in PKW, where he’s rediscovered his lost innocence in his son). They literally cannot function without each other, and I truly truly love that.
And completely unrelated but still squee-worthy. OMG! They are making a movie about the Bielski brothers. With Daniel Crag and Jamie Bell as two of the three brothers. To be called Defiance. I think I might die of happy happiness. Especially since the director is Edward Zwick (who did Glory and Last Samurai). EEEE! (With this and Tom Cruise’s Valkyrie, which I am also eagerly anticipating, it seems 2008 is going to be WWII movie heavy).
And finally, and also unrelated. Oh my. You poor, poor hero of Bednaya Nastya. You clearly did not listen to my ‘advice to fictional characters’ post earlier, and now your job is to angst and manfully suffer, to your misery and our yumminess.
And hey, you totally deserve to be smacked, and repeatedly (I admit to totally cheering when Michael decked you, and I don’t even care for Michael much), but you are such a woobie, with your angsty staring and your apologies, and your misery of knowing that you only realized you love Anna after you made her hate you, that I sorta..sorta…ehhhhh, hell, it’s just you are too hot to stay mad at for long.
So basically, our Byronic hero Vladimir, just dug himself a huge huge hole and then jumped into it.
How did it start? Well, he was very grateful to Anna for saving him from being taken by the police straight from his dinner table, on the accusation of murder of his father (yes, telenovela world is bizarre…why do you ask?). Because whatever else, Anna knows Vladimir loved his Dad and wouldn’t ever touch a hair on his head, and at that point, she is still a saintly-victim type (and he’s never done anything really horrid to her, after all). So there is this total melting scene when he thanks her and is very surprised. At that point, anyone other than a telenovela heroine would figure out the young Baron is hot for the girl, but Anna is blessed with the usual dim-wittedness and does not.
So Vladimir decides to give Anna her freedom papers (left by his father) and as he comes down stairs, what is the sight that greets his eyes? Why, yes, it’s his best friend Michael exploring Anna’s oral health by probing her tonsils with his tongue. Ummmm, people! Has no one in this house heard of doors? With locks on them! WTF are they doing, necking in the living room right by the staircase, where everyone in the house will walk by? Do Anna and Michael have half a brain between them? They are basically making out in the most populated place in the house of a guy who has clearly indicated, repeatedly and to the both of them, that he views this relationship with a little less delight than he would eat a ragout made out of broken glass. Ummmm, brain? Especially you, Anna! He told you if you got close to his BFF he was going tocut you expose you for a serf.
Anyway, Vladimir’s eyes temporarily turn from blue to green and he looks like someone stabbed him with something sharp and poisonous (this being a telenovela, I would be unsurprised if this fate was actually later to happen to him, literally, considering the plethora of angst they give the man. Did I mention that we later find out that in addition to a murdered distant Daddy, his Mommy was deathly ill so asked her sister to off her, which she did? I hope V/A adopt, with such genetics.)
No freedom for Anna. And moreover, he tells her the next morning that it’s high time everyone knew the truth about her, so in the evening she should prepare to serve the masters and also do a dance of the seven veils for them, like any serf actress. And she will do it for him, and for the Director of Theaters (who is visiting) and for Michael. The funny thing is, that encounter starts out semi-OK, and he still has her freedom papers but the conversation just degenerates further and further and so yeah, he orders her and after she storms off, he burns her freedom papers. (It’s interesting, because it’s like a enchanted cycle: he tries to be nice but she assumes he is meaning something horrible, so he gets hurt and becomes horrible, so she is justified so next time the cycle repeats).
Young man, has anyone told you temper is a really bad idea? ‘Cause I am telling you, baaaaaaad idea. Baaaaaaaad.
Anyway, later Anna begs him not to make her do it, and asks her patented question of why he hates her so (girl is mentally challenged, what can I say?) and mentions that from childhood, she knew that even though his parents wanted, they would never be real siblings, to which he replies ‘I will never be your brother.’ (LOL, we know, we know, this isn’t a real Korean drama, after all). And then he offers her a deal. She doesn’t have to dance and humiliate herself, she can continue living like an aristocrat, only with one condition: she has to see Michael, tell him that their relationship is over, and walk away ‘without turning back.’ HEH. If this didn’t give you a clue, Anna, why all of a sudden Vladimir seems to have damaged his brain and is acting like a lunatic, nothing will.
I love the bit where she asks him whether this means that she will have to live in the house with him. And there is such a wealth of disdain in her voice, and he bites out that she thinks too much of herself and she won’t be with him, she’ll just be in his house. Yeah. And the sun is made of cheese.
Anna refuses, because she says she can’t lie that she doesn’t love Michael. And then tells him he finally achieved what he’s wanted and now she hates him every bit as much as he hates her. And leaves a very very emo looking Vladimir looking like she smacked him in the face. Hey, you are the Byronic hero, your duty is to suffer!
Anyway, she tries to run away with Nikita (another serf) so as to avoid this, they get stopped and Vladimir offers her a deal. He’ll give Nikita his freedom papers (as opposed to sending him to jail or similar) if she performs.
So, that evening, Michael is late but she does dance, and you can tell Vladimir is kinda torn between ‘WTF am I doing?’ and ‘hot, half-naked blonde of my dreams almost on my lap’ LOL. The Director of Theaters is just appalled. And then, the moment is complete when poor Michael walks in just to see the woman he holds on a pedestal (and thought a noblewoman) gyrating on the floor in front of his best friend. Ummmm. Yeah. (Btw, why not make her dance naked, if you are ordering her about, come on, Vladimir, use some imagination!)
And Anna tries to run after him and Vladimir tries to stop her at first because she isn’t done. I seriously wanted to stab him in the face at that point. Forget Anna, WTF are you doing to your best friend?
Anyway, he lets her go and she has a confrontation with Michael who basically tells her he can’t believe anything about her and rides off, never to be seen again (or at least for a few days). Anna is not my favorite character (I like her just fine, but she is a bit too Victorian for my tastes), but I really did feel awful for her there.
Meanwhile, Vladimir is engaging in time-honored Russian pastime of getting really wasted, looking like he is about to die (and I am sure he would if Anna had her way), and has a scene with the Director of Theaters who basically tells him that this was a really dastardly action, and unworthy of a nobleman blah blah blah and Vladimir tries to defend his actions, but somehow it’s coming across as ‘if I insist it’s true, maybe I’ll believe it.’ And then he is all alone with his favorite companion: bottle of vodka.
Until Anna barges in, all desperate, and angry and in total bitch mode. I have to say, this was the first time I really liked her character, which probably says something worrying about me. She is still wearing her belly-dancer outfit, and she looks pretty damn hot, even if I am a straight girl. I don’t mind when she is all timid victim, but this is so much better. I think she switched not just because she has nothing (as she thinks) to lose, but also because she has realized during her performance that the balance of power is not utterly unequal. She might not have figured out he loves her, but even a telenovela heroine can’t ignore that he wants her like mad.
So she basically tells him she came to finish the performance, and when he replies, very quietly, that there is no need, and no musicians, she says that’s fine and EEEEE! I love it, because she is totally using her sexuality as a weapon and as she is in front of him, all that bare skin, basically an inch away, she keeps asking him ‘isn’t this exactly what you wanted?’ and OMG, she totally gets him on his knees in front of her, kissing her hands, and then she looks at him and just lets him know how much she despises him by staring at him at her feet and calling him her master. Heh. YESSSS. So he tells her to leave and mmmmmmm. YES. Serves you right!
But after all, if a hero is alpha, he can never forget it for long, and next, he looks up (with tears in his eyes, YESSSSS) and sees a similar outfit and it’s Polina, the slutty-evil housemaid, dressed similarly, and *here I sort of started giggling* pulls the tablecloth off the table and off they go. Mm, displacement is all and good, but a table? Got to be uncomfortable like hell! And then the scene fades into him buttoning his clothes and telling her, matter of factly, to clear the mess on the table off. Heeeeeee. I love him when he is being a jerk.
Apparently, one of the effects of a hangover is seeing ghosts? No one told me, but this is clearly the case, because in the morning, in his study, Vladimir sees his dead father. Well, it’s not a zombie, actually, but a hybrid of his conscience and subconscious. And in the course of the conversation (is he bucking for Baltar status and talking to thin air?) is the exact moment that Vladimir realizes that what he feels for Anna is love.
Ummm.
UMMMM.
Talk about bad timing. How if you’d discovered it BEFORE you gave her cause to hate you forever (btw, I so don’t blame her, here. I’d be way worse). And of course, he is devastated, both because he is convinced there is no one for her but Michael, even now, and because he knows she deservedly hates him, and just the whole thing is totally impossible, which means angsty hotness which means happy me. Seriously, all hot heroes should fall apart into pieces in their period libraries.
But being a manly man, and clearly not having enough angst from last night, he decides that the one thing to do is to go to Anna and apologize. YESSSSS (she did tell him much earlier that he will be sorry about his actions, I guess she was right). He goes to her room, and tries to apologize, and he is so quiet, and desperate, and earnest, but understandably, Anna is not buying any of this and the scene just becomes more and more awful for him, because she starts asking herself why he’d come and bother to put on a farce about an apology, and then decides it’s because he wants her to be a serf proper, so she should move out of her room and she is throwing all her jewelry and clothes at him because they aren’t hers, after all, and I kinda want to hug the idiot boy, as he stammers out that he doesn’t want them, a horrified ‘these are your clothes.’ And he tries to persist with the apology and to ‘expiate his guilt’ but I can tell it will be a huge uphill battle, especially since, after telling him to get out, she tells him she will never forgive him. Oh, you will, honey, you will. I saw the last ep.
So he decides he is letting her go to St. Petersburg anyway, and be an actress like she wanted. And then Michael gets back and poor Vladimir is looking like a lost little puppy and is all ‘I was worried about you, I am sorry’ and Michael decks him. Good for Michael!
And then they have a discussion and I love how Vladimir is so hopeful and eager (and is totally trying to hide it even from himself) that now Michael knows who Anna really is he only feels disdain for her, right? Right? Right? Heeeeee. No such luck, angsty Byronic hero. Michael tells him he has thought it over, and he does love Anna anyway.
And then I had to run ;)
More fun from the land of cravats shortly.
In fact, Farscape avoids even the ‘woman is stronger fighter, man is more brainy’ dichotomy which some shows like (Battlestar, and Lee/Kara, I am looking at you. There is nothing wrong with this trope, of course). Nor is it John slowly becoming Aeryn’s protector as opposed to the other way around. No, once the steep learning curve for John has been met, once he has learned how to handle himself in the strange new awful-beautiful world, once he has gone a little insane, a little over the edge, John and Aeryn rescue each other equally.
I am talking in every sense of the world, from emotional and mental, to purely physical. He goes against Namtar in DNAMS, even though he hasn’t yet really used a gun, to get her back into a proper shape. She stands up for him in front of Crais. He goes down to the Gammack Base and bluffs a base full of PKs to get her medicine, and she overcomes recent, near-fatal wound to come down and get him from the torture place. They rescue each other on and off, on a regular basis, and that continues throughout, until the end, and neither becomes a dominant rescuer, with the other a person in distress: Crichton’s insanity of rescue in We Are So Screwed at the end of S4? Yes, so amazing. But so is Aeryn’s shooting of the Scarran War Minister who is about to kill John, in PK Wars, shortly after she’s given birth! Up through the end they are equals.
But this isn’t just about their physical rescuing. The emotional stability and help is there too: he is the one who starts her on the path of individuality, of owning up to a soul, but she is the one who is steadying him when he is going insane. He holds her when she weeps for Velorek and her betrayal, and she holds him when he weeps for the destruction he caused in WASS. They allow the other to see them at their lowest, and that is despite Aeryn’s in-born, and John’s hard-bought hatred of allowing anyone to see a weakness. He gets past her barriers and she, who is the cause of some of his, is also the one person who can get behind them, make him feel whole and human again (I am thinking of the scene after the bomb in S4 and his guilt, or in PKW, where he’s rediscovered his lost innocence in his son). They literally cannot function without each other, and I truly truly love that.
And completely unrelated but still squee-worthy. OMG! They are making a movie about the Bielski brothers. With Daniel Crag and Jamie Bell as two of the three brothers. To be called Defiance. I think I might die of happy happiness. Especially since the director is Edward Zwick (who did Glory and Last Samurai). EEEE! (With this and Tom Cruise’s Valkyrie, which I am also eagerly anticipating, it seems 2008 is going to be WWII movie heavy).
And finally, and also unrelated. Oh my. You poor, poor hero of Bednaya Nastya. You clearly did not listen to my ‘advice to fictional characters’ post earlier, and now your job is to angst and manfully suffer, to your misery and our yumminess.
And hey, you totally deserve to be smacked, and repeatedly (I admit to totally cheering when Michael decked you, and I don’t even care for Michael much), but you are such a woobie, with your angsty staring and your apologies, and your misery of knowing that you only realized you love Anna after you made her hate you, that I sorta..sorta…ehhhhh, hell, it’s just you are too hot to stay mad at for long.
So basically, our Byronic hero Vladimir, just dug himself a huge huge hole and then jumped into it.
How did it start? Well, he was very grateful to Anna for saving him from being taken by the police straight from his dinner table, on the accusation of murder of his father (yes, telenovela world is bizarre…why do you ask?). Because whatever else, Anna knows Vladimir loved his Dad and wouldn’t ever touch a hair on his head, and at that point, she is still a saintly-victim type (and he’s never done anything really horrid to her, after all). So there is this total melting scene when he thanks her and is very surprised. At that point, anyone other than a telenovela heroine would figure out the young Baron is hot for the girl, but Anna is blessed with the usual dim-wittedness and does not.
So Vladimir decides to give Anna her freedom papers (left by his father) and as he comes down stairs, what is the sight that greets his eyes? Why, yes, it’s his best friend Michael exploring Anna’s oral health by probing her tonsils with his tongue. Ummmm, people! Has no one in this house heard of doors? With locks on them! WTF are they doing, necking in the living room right by the staircase, where everyone in the house will walk by? Do Anna and Michael have half a brain between them? They are basically making out in the most populated place in the house of a guy who has clearly indicated, repeatedly and to the both of them, that he views this relationship with a little less delight than he would eat a ragout made out of broken glass. Ummmm, brain? Especially you, Anna! He told you if you got close to his BFF he was going to
Anyway, Vladimir’s eyes temporarily turn from blue to green and he looks like someone stabbed him with something sharp and poisonous (this being a telenovela, I would be unsurprised if this fate was actually later to happen to him, literally, considering the plethora of angst they give the man. Did I mention that we later find out that in addition to a murdered distant Daddy, his Mommy was deathly ill so asked her sister to off her, which she did? I hope V/A adopt, with such genetics.)
No freedom for Anna. And moreover, he tells her the next morning that it’s high time everyone knew the truth about her, so in the evening she should prepare to serve the masters and also do a dance of the seven veils for them, like any serf actress. And she will do it for him, and for the Director of Theaters (who is visiting) and for Michael. The funny thing is, that encounter starts out semi-OK, and he still has her freedom papers but the conversation just degenerates further and further and so yeah, he orders her and after she storms off, he burns her freedom papers. (It’s interesting, because it’s like a enchanted cycle: he tries to be nice but she assumes he is meaning something horrible, so he gets hurt and becomes horrible, so she is justified so next time the cycle repeats).
Young man, has anyone told you temper is a really bad idea? ‘Cause I am telling you, baaaaaaad idea. Baaaaaaaad.
Anyway, later Anna begs him not to make her do it, and asks her patented question of why he hates her so (girl is mentally challenged, what can I say?) and mentions that from childhood, she knew that even though his parents wanted, they would never be real siblings, to which he replies ‘I will never be your brother.’ (LOL, we know, we know, this isn’t a real Korean drama, after all). And then he offers her a deal. She doesn’t have to dance and humiliate herself, she can continue living like an aristocrat, only with one condition: she has to see Michael, tell him that their relationship is over, and walk away ‘without turning back.’ HEH. If this didn’t give you a clue, Anna, why all of a sudden Vladimir seems to have damaged his brain and is acting like a lunatic, nothing will.
I love the bit where she asks him whether this means that she will have to live in the house with him. And there is such a wealth of disdain in her voice, and he bites out that she thinks too much of herself and she won’t be with him, she’ll just be in his house. Yeah. And the sun is made of cheese.
Anna refuses, because she says she can’t lie that she doesn’t love Michael. And then tells him he finally achieved what he’s wanted and now she hates him every bit as much as he hates her. And leaves a very very emo looking Vladimir looking like she smacked him in the face. Hey, you are the Byronic hero, your duty is to suffer!
Anyway, she tries to run away with Nikita (another serf) so as to avoid this, they get stopped and Vladimir offers her a deal. He’ll give Nikita his freedom papers (as opposed to sending him to jail or similar) if she performs.
So, that evening, Michael is late but she does dance, and you can tell Vladimir is kinda torn between ‘WTF am I doing?’ and ‘hot, half-naked blonde of my dreams almost on my lap’ LOL. The Director of Theaters is just appalled. And then, the moment is complete when poor Michael walks in just to see the woman he holds on a pedestal (and thought a noblewoman) gyrating on the floor in front of his best friend. Ummmm. Yeah. (Btw, why not make her dance naked, if you are ordering her about, come on, Vladimir, use some imagination!)
And Anna tries to run after him and Vladimir tries to stop her at first because she isn’t done. I seriously wanted to stab him in the face at that point. Forget Anna, WTF are you doing to your best friend?
Anyway, he lets her go and she has a confrontation with Michael who basically tells her he can’t believe anything about her and rides off, never to be seen again (or at least for a few days). Anna is not my favorite character (I like her just fine, but she is a bit too Victorian for my tastes), but I really did feel awful for her there.
Meanwhile, Vladimir is engaging in time-honored Russian pastime of getting really wasted, looking like he is about to die (and I am sure he would if Anna had her way), and has a scene with the Director of Theaters who basically tells him that this was a really dastardly action, and unworthy of a nobleman blah blah blah and Vladimir tries to defend his actions, but somehow it’s coming across as ‘if I insist it’s true, maybe I’ll believe it.’ And then he is all alone with his favorite companion: bottle of vodka.
Until Anna barges in, all desperate, and angry and in total bitch mode. I have to say, this was the first time I really liked her character, which probably says something worrying about me. She is still wearing her belly-dancer outfit, and she looks pretty damn hot, even if I am a straight girl. I don’t mind when she is all timid victim, but this is so much better. I think she switched not just because she has nothing (as she thinks) to lose, but also because she has realized during her performance that the balance of power is not utterly unequal. She might not have figured out he loves her, but even a telenovela heroine can’t ignore that he wants her like mad.
So she basically tells him she came to finish the performance, and when he replies, very quietly, that there is no need, and no musicians, she says that’s fine and EEEEE! I love it, because she is totally using her sexuality as a weapon and as she is in front of him, all that bare skin, basically an inch away, she keeps asking him ‘isn’t this exactly what you wanted?’ and OMG, she totally gets him on his knees in front of her, kissing her hands, and then she looks at him and just lets him know how much she despises him by staring at him at her feet and calling him her master. Heh. YESSSS. So he tells her to leave and mmmmmmm. YES. Serves you right!
But after all, if a hero is alpha, he can never forget it for long, and next, he looks up (with tears in his eyes, YESSSSS) and sees a similar outfit and it’s Polina, the slutty-evil housemaid, dressed similarly, and *here I sort of started giggling* pulls the tablecloth off the table and off they go. Mm, displacement is all and good, but a table? Got to be uncomfortable like hell! And then the scene fades into him buttoning his clothes and telling her, matter of factly, to clear the mess on the table off. Heeeeeee. I love him when he is being a jerk.
Apparently, one of the effects of a hangover is seeing ghosts? No one told me, but this is clearly the case, because in the morning, in his study, Vladimir sees his dead father. Well, it’s not a zombie, actually, but a hybrid of his conscience and subconscious. And in the course of the conversation (is he bucking for Baltar status and talking to thin air?) is the exact moment that Vladimir realizes that what he feels for Anna is love.
Ummm.
UMMMM.
Talk about bad timing. How if you’d discovered it BEFORE you gave her cause to hate you forever (btw, I so don’t blame her, here. I’d be way worse). And of course, he is devastated, both because he is convinced there is no one for her but Michael, even now, and because he knows she deservedly hates him, and just the whole thing is totally impossible, which means angsty hotness which means happy me. Seriously, all hot heroes should fall apart into pieces in their period libraries.
But being a manly man, and clearly not having enough angst from last night, he decides that the one thing to do is to go to Anna and apologize. YESSSSS (she did tell him much earlier that he will be sorry about his actions, I guess she was right). He goes to her room, and tries to apologize, and he is so quiet, and desperate, and earnest, but understandably, Anna is not buying any of this and the scene just becomes more and more awful for him, because she starts asking herself why he’d come and bother to put on a farce about an apology, and then decides it’s because he wants her to be a serf proper, so she should move out of her room and she is throwing all her jewelry and clothes at him because they aren’t hers, after all, and I kinda want to hug the idiot boy, as he stammers out that he doesn’t want them, a horrified ‘these are your clothes.’ And he tries to persist with the apology and to ‘expiate his guilt’ but I can tell it will be a huge uphill battle, especially since, after telling him to get out, she tells him she will never forgive him. Oh, you will, honey, you will. I saw the last ep.
So he decides he is letting her go to St. Petersburg anyway, and be an actress like she wanted. And then Michael gets back and poor Vladimir is looking like a lost little puppy and is all ‘I was worried about you, I am sorry’ and Michael decks him. Good for Michael!
And then they have a discussion and I love how Vladimir is so hopeful and eager (and is totally trying to hide it even from himself) that now Michael knows who Anna really is he only feels disdain for her, right? Right? Right? Heeeeee. No such luck, angsty Byronic hero. Michael tells him he has thought it over, and he does love Anna anyway.
And then I had to run ;)
More fun from the land of cravats shortly.
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Date: 2007-09-20 04:52 am (UTC)no subject
Date: 2007-09-21 04:52 am (UTC)no subject
Date: 2007-09-20 06:40 am (UTC)Absolutely. I cannot imagine how John would have turned out if he didn't have Aeryn. His humanity would have been lost much much earlier. In fact the Unchartereds would have had either one mean psychopath on their hands or a very dead scientific astronaut.
But it is painful to watch. John looked so young in season one. I love S1 John, his wide-eyed wonder, his belief of good even in the most hideous creature. In later seasons this care-free, inocent John only comes out with Aeryn and the rest of the Moya crew, but never again with any of their adversaries or allies they make post the Gammak Base incident.
no subject
Date: 2007-09-21 04:51 am (UTC)That's a brilliant observation.
And he really does harden tremendously. I cannot see later seasons John being so ready to (frex) take in Chiana.
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Date: 2007-09-20 05:12 pm (UTC)Must waaaatch. (And I can usually only tolerate so much angst, but this drama has GOOD angst, so am addicted.)
no subject
Date: 2007-09-20 05:13 pm (UTC)no subject
Date: 2007-09-21 04:52 am (UTC)