Dancing on the Edge (ep 3)
Feb. 17th, 2013 08:41 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shallownessFirst, It’s been announced that BBC4 have got the rights to and will be airing Borgen (PHEW). I won’t link to the article that informed me of this, because it was mildly spoily about the set-up.
Secondly, episode 3 – hard to get into this as a whole, maybe because of when I was watching it and that I could pause, although I suspect that the fact that I was spoiled for the ending of the episode didn’t help.
Given the news about The Hour, I was wondering, what with the New Year’s party and the embassy party and the various Christmas dinners, how did the Beeb manage to fund this? Not in a bitter way, more wonderingly as I watched all these characters watch fireworks etc.
Was there a glint of Ripper in Donaldson right at the end of his talking to Jessie? I think Louis may be barking up the wrong tree with Midas Masterson, although yes, Julian lied and isn't complicit – someone who isn’t as used to bottling things up for survival as Louis would surely have confronted him. I kept wondering if the detective might turn out to be a Mason, but he didn’t seem to be. So far. I don't think that was just introduced for us to gawp at the costumes. Also, I have just realised that Tom Hughes, who plays Julian, was the rebellious one in Cemetry Junction (where I thought he had presence, now I see range too.)
I don’t think Jessie was killed – I was spoiled that she’d die, so I kept being glad when I saw a nurse in the room with her – beyond the fact that her attacker didn’t care if she bled out, did he?
A point of disambiguation, even though I should have picked up on the fact that they didn’t share the same surname, I was under the misapprehension that Donaldson was Pamela and Julian’s father. (But what was the nature of their connection, then? Pamela (and Sarah in train), Masterson and Donaldson turning up to most social events together seems almost suspicious. I don't think it is, I think it's compression.
Plenty of tension going on – Stanley and Eric (I’m on your side, Stan. I’ve always been about the music or the films in magazines about those topics, not the machines that play them) and the Germans with their new leader and our tolerant, golden party people. I wondered if Stanley’s grand plan for the Embassy was really wise – if I weren’t enjoying both actors’ performances so much, I’d say Goode and Ewejofor really are too old. As it was going on, I wondered what the point of it was beyond Poliakoff reading about a similar incident, although Nazism is a dramatically powerful crystallisation of racism, especially when they seemed to get away with it...until we had Pamela’s admission. For someone who’s such a het shipper (and I like Louis and Sarah), I didn’t loooove watching all the two couples matching off that happened in this episode. For one thing, I thought Louis should be keeping more of an eye out for Carla. I like Pamela on her own more and more. I like that she is growing and deepening. (Having said that, I think Goode has more sparks with Bisset, and I’d be temprementally more likely to ship Stanley/Rose if Poliakoff was more interested in her).
Er, my point? Show is still lavish and sumptuous to watch, even if it isn’t always as fully realised dramatically as I wish it would be, and sometimes the writing slips up. I’m afraid to say that my response to every time Lady Cremone mentioned her dead sons was snarky. The technique to show introduce the previouslies as flashback didn’t work so well for me this time, as I noticed that there was too much that Louis hadn’t been present for. I am also aware that I’d probably be more into the show if its POV characters were different ones (i.e. female). And yet, I got a kick out of Anthony Head exchanging words with John Goodman. I note that in the future-present at Stanley’s flat, Louis and he are on increasingly friendlier terms than they were in previous episodes. I look forward to see what will happen next. I'm also aware that I'm criticising something that's more ambitious than the norm for not quite coming off, which is perhaps more of an achievement than something that sets its sights lower and does it flawlessly. At least, what I'm saying is I want both on my telly.
Secondly, episode 3 – hard to get into this as a whole, maybe because of when I was watching it and that I could pause, although I suspect that the fact that I was spoiled for the ending of the episode didn’t help.
Given the news about The Hour, I was wondering, what with the New Year’s party and the embassy party and the various Christmas dinners, how did the Beeb manage to fund this? Not in a bitter way, more wonderingly as I watched all these characters watch fireworks etc.
Was there a glint of Ripper in Donaldson right at the end of his talking to Jessie? I think Louis may be barking up the wrong tree with Midas Masterson, although yes, Julian lied and isn't complicit – someone who isn’t as used to bottling things up for survival as Louis would surely have confronted him. I kept wondering if the detective might turn out to be a Mason, but he didn’t seem to be. So far. I don't think that was just introduced for us to gawp at the costumes. Also, I have just realised that Tom Hughes, who plays Julian, was the rebellious one in Cemetry Junction (where I thought he had presence, now I see range too.)
I don’t think Jessie was killed – I was spoiled that she’d die, so I kept being glad when I saw a nurse in the room with her – beyond the fact that her attacker didn’t care if she bled out, did he?
A point of disambiguation, even though I should have picked up on the fact that they didn’t share the same surname, I was under the misapprehension that Donaldson was Pamela and Julian’s father. (But what was the nature of their connection, then? Pamela (and Sarah in train), Masterson and Donaldson turning up to most social events together seems almost suspicious. I don't think it is, I think it's compression.
Plenty of tension going on – Stanley and Eric (I’m on your side, Stan. I’ve always been about the music or the films in magazines about those topics, not the machines that play them) and the Germans with their new leader and our tolerant, golden party people. I wondered if Stanley’s grand plan for the Embassy was really wise – if I weren’t enjoying both actors’ performances so much, I’d say Goode and Ewejofor really are too old. As it was going on, I wondered what the point of it was beyond Poliakoff reading about a similar incident, although Nazism is a dramatically powerful crystallisation of racism, especially when they seemed to get away with it...until we had Pamela’s admission. For someone who’s such a het shipper (and I like Louis and Sarah), I didn’t loooove watching all the two couples matching off that happened in this episode. For one thing, I thought Louis should be keeping more of an eye out for Carla. I like Pamela on her own more and more. I like that she is growing and deepening. (Having said that, I think Goode has more sparks with Bisset, and I’d be temprementally more likely to ship Stanley/Rose if Poliakoff was more interested in her).
Er, my point? Show is still lavish and sumptuous to watch, even if it isn’t always as fully realised dramatically as I wish it would be, and sometimes the writing slips up. I’m afraid to say that my response to every time Lady Cremone mentioned her dead sons was snarky. The technique to show introduce the previouslies as flashback didn’t work so well for me this time, as I noticed that there was too much that Louis hadn’t been present for. I am also aware that I’d probably be more into the show if its POV characters were different ones (i.e. female). And yet, I got a kick out of Anthony Head exchanging words with John Goodman. I note that in the future-present at Stanley’s flat, Louis and he are on increasingly friendlier terms than they were in previous episodes. I look forward to see what will happen next. I'm also aware that I'm criticising something that's more ambitious than the norm for not quite coming off, which is perhaps more of an achievement than something that sets its sights lower and does it flawlessly. At least, what I'm saying is I want both on my telly.
