Person of Interest/Dancing on the Edge
Feb. 10th, 2013 08:23 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shallownessPerson of Interest 1.12 Legacy
Engrossing enough number of the week, Carter becoming Reese’s latest asset (of course she’s good at what she does!) and Finch being rather touching about Will until it became something to get worried about. I tend to agree with Finch that keeping Carter and Fusco ignorant that they’re both linked to the same do-gooders will do no good – at the least, they’re going to be furious when they find out. I also wouldn’t agree with the tiny lawyer that Reese was better looking than her. The scene where he silently rescued her from the first assassin was so hilariously Batman, and the scene in the library was gorgeously shot. I was hoping that her contact at family services wouldn’t be the bad guy, because he was (or seemed to be making goo-goo eyes at her). Huh, I really liked her and not just because of what she represented in the overall story about good and evil in this city...
Dancing on the Edge episode 2
Still, broadly, feeling the same way about the show. Some parts were a little too telegraphed, but I am basically craving icons – as of this moment, Carla singing would be nice, or Goode being charming, but I’d have thought that anything would be gorgeous.
To start with (this won’t be blow by blow, honest) I really liked the previously as flashback leading to the more extended flashback. The opening scene between Louis and Stanley seemed less tense than the 1933 scene of the first episode.
Anyway, we were introduced to Lady Cremone (whom I would love to see cross paths with the Downton lot. Then again, given what she lost to WW1, maybe not), who was introduced to the band – but the fun was in her interaction with pushy, flirty Stanley. Apparently, although the band is fictional, much of what happens is based on real life events, so there was a posh near recluse novelty hunter setting trends in 1930s London? Due to reasons outside of Poliakoff’s control, I squealed at the His Master’s Voice chap – I didn’t really remember that it was a record company before being a shop. I’ve been meaning to write about the shop’s current situation, but haven’t got round to it...
Anyway, Goode played Stanley so well that I didn’t mind the clichés – and now that we’ve seen something Pamela is serious about (Julian), he’s a goner. (I’d realised Stanley’s young brunette was the new Doctor Who companion, but not that Pamela was played by her off The Paradise. A lot more of the female young’uns are played by actresses that seem to be around the age of twenty, no?) Yay for Rose being pragmatic and positioning herself as a future writer, though.
We saw Louis working on a song on his own, which made me happy. I hadn’t realised the Prince was gay either – after all his seen the world stuff, it turns out that Louis doesn’t have good gaydar. I would be pro Louis/Sarah if I didn’t suspect it all ends badly, but at least they seemed to be on the same page, as opposed to Julian/Jessie. I thought Jessie’s head turned far too quickly. One minute she’s humble!Jessie and then she’s a diva. Maybe I’m underestimating the power of a car. I’m not sure if Julian is actually a violent rapist or a procurer for one – is what Louis saw last episode in Masterson’s suite what he thinks he saw? And wasn’t Masterson engaged at the time? And what to make of that very tense, strange scene about the Parisian telephone numer? Is it something Mason related? I don’t know how many layers to assign when so much of the show goes the obvious route. But the Donaldson family is still mighty mysterious.
Some other points – yay! Carla for killing it, when she stood in for the friend she’d been overshadowed by in front of Royalty. Classic the show must go on – and confirmation I’ll be buying the soundtrack. I like the fact that they perform a lot of the songs more than once (cough, Glee.)
I didn’t say this last time, but can you imagine living with trumpet guy? He annoys me as it is.
More talk of the threats of political darkness – the show’s title is obviously partly descriptive of the thirties as much as the characters.
Engrossing enough number of the week, Carter becoming Reese’s latest asset (of course she’s good at what she does!) and Finch being rather touching about Will until it became something to get worried about. I tend to agree with Finch that keeping Carter and Fusco ignorant that they’re both linked to the same do-gooders will do no good – at the least, they’re going to be furious when they find out. I also wouldn’t agree with the tiny lawyer that Reese was better looking than her. The scene where he silently rescued her from the first assassin was so hilariously Batman, and the scene in the library was gorgeously shot. I was hoping that her contact at family services wouldn’t be the bad guy, because he was (or seemed to be making goo-goo eyes at her). Huh, I really liked her and not just because of what she represented in the overall story about good and evil in this city...
Dancing on the Edge episode 2
Still, broadly, feeling the same way about the show. Some parts were a little too telegraphed, but I am basically craving icons – as of this moment, Carla singing would be nice, or Goode being charming, but I’d have thought that anything would be gorgeous.
To start with (this won’t be blow by blow, honest) I really liked the previously as flashback leading to the more extended flashback. The opening scene between Louis and Stanley seemed less tense than the 1933 scene of the first episode.
Anyway, we were introduced to Lady Cremone (whom I would love to see cross paths with the Downton lot. Then again, given what she lost to WW1, maybe not), who was introduced to the band – but the fun was in her interaction with pushy, flirty Stanley. Apparently, although the band is fictional, much of what happens is based on real life events, so there was a posh near recluse novelty hunter setting trends in 1930s London? Due to reasons outside of Poliakoff’s control, I squealed at the His Master’s Voice chap – I didn’t really remember that it was a record company before being a shop. I’ve been meaning to write about the shop’s current situation, but haven’t got round to it...
Anyway, Goode played Stanley so well that I didn’t mind the clichés – and now that we’ve seen something Pamela is serious about (Julian), he’s a goner. (I’d realised Stanley’s young brunette was the new Doctor Who companion, but not that Pamela was played by her off The Paradise. A lot more of the female young’uns are played by actresses that seem to be around the age of twenty, no?) Yay for Rose being pragmatic and positioning herself as a future writer, though.
We saw Louis working on a song on his own, which made me happy. I hadn’t realised the Prince was gay either – after all his seen the world stuff, it turns out that Louis doesn’t have good gaydar. I would be pro Louis/Sarah if I didn’t suspect it all ends badly, but at least they seemed to be on the same page, as opposed to Julian/Jessie. I thought Jessie’s head turned far too quickly. One minute she’s humble!Jessie and then she’s a diva. Maybe I’m underestimating the power of a car. I’m not sure if Julian is actually a violent rapist or a procurer for one – is what Louis saw last episode in Masterson’s suite what he thinks he saw? And wasn’t Masterson engaged at the time? And what to make of that very tense, strange scene about the Parisian telephone numer? Is it something Mason related? I don’t know how many layers to assign when so much of the show goes the obvious route. But the Donaldson family is still mighty mysterious.
Some other points – yay! Carla for killing it, when she stood in for the friend she’d been overshadowed by in front of Royalty. Classic the show must go on – and confirmation I’ll be buying the soundtrack. I like the fact that they perform a lot of the songs more than once (cough, Glee.)
I didn’t say this last time, but can you imagine living with trumpet guy? He annoys me as it is.
More talk of the threats of political darkness – the show’s title is obviously partly descriptive of the thirties as much as the characters.
