solitary_summer: (Default)
Author's note: It's funny how I never plan on these things and they happen anyway. I had absolutely no intentions of writing about Jack and Ianto again after the big post in 2009; more than 9.000 words of meta—what was there even left to write about? But then I wrote about death, life, and what it means to be human in DW and TW, and in the process of rewatching for that I had a (short) paragraph's worth of an idea that I didn't think would amount to more than that, but somehow kept... not so much nagging, as occasionally nibbling at my mind, and months and months later, I'm not sure how exactly, it suddenly turned out that there still was something I wanted to write after all before we get new canon. Which then developed a life of its own, took me to places I hadn't expected, and, well. Insert obligatory warning for excessive wordiness. It's also, I guess, a sort of post-CoE closure for me, because this time I managed to tie up all the threads running through the first three seasons in my mind.




Time - he's waiting in the wings
He speaks of senseless things
His script is you and me, boy


- David Bowie, Time -



The World Is Always Ending: Time in Torchwood's Jack/Ianto Arc


Time has always been Jack's theme. Before he travelled with the Doctor, he was a Time Agent turned time-travelling conman who lost two years of his life somewhere along the way. When he danced with Rose in The Empty Child, it was in front of the clock of Big Ben. But after Rose brought him back to life permanently and he accidentally got himself stranded in 1869 in the attempt of trying to meet the Doctor again, his relationship with time changed radically. He lost the relative freedom and control he used to have over it, and suddenly found himself once more chained to a linear timeline, no longer able to jump back and forth through the centuries and millennia, using history for his own purpose. He lost his mortality, something that, as DW canon also repeatedly emphasises, constitutes a basic element of what it means to be human, but at the same time he was forced to live his life in a very human fashion, day after day after day, without even the most basic freedom every human being has, to end it. Time became a burden.

Among the clutter on Jack's desk there are two objects that are a permanent fixture throughout both the first and second series of TW: the growing Tardis coral and an hourglass. Regardless of whether they were put there with this purpose in mind, between them they illustrate Jack's state of being, and his dilemma. The former is an obvious symbol for the Doctor, for what happened to Jack, for the ability to travel in time he is hoping to regain eventually: the power of (and, to an extent, the power over) space and time. It can be read to represent his new life that, in absolute terms, has only just begun and that he's still trying to get used to. The hourglass, on the other hand, traditionally symbolises the fleetingness of time, the brevity of human life; mortality and death. It is used briefly in Fragments to illustrate the passage of the years and decades Jack spent in Torchwood, but it can also stand for the old, human, life Jack lost, the humanity he's struggling to maintain, and, as a memento mori, for a heightened awareness of the death that is omnipresent in the world around him, but continues to elude him. If the sand running through the glass symbolises the human lifespan, then in Jack's case the hourglass gets turned around again and again with each death, and the sand starts running anew. It's between these two polar opposites that Jack has to find his way now.


Part 1: Ten Minutes, and Counting )


Part 2: Eight Thirty-Two, Thirty-One... )


Part 3: Thirty Minutes )

solitary_summer: (Default)
Damn. I thought I was joking when I wrote that, but either I'm imagining things, or the cough medicine is really making my brain annoyingly unfocused and sluggish. (And people are apparently taking it for recreational purposes? That seems rather baffling...)


Anyway. This is really sketchy and incomplete, mostly stray thoughts and bits and pieces left over from the epic meta post, as well as some that made it in there, and I probably wouldn't have written it if I weren't marooned at home and too dazed and lethargic to do any serious Russian studying. It originally goes back to this post, about year ago when I was rewatching TW after CoE, and it struck me that that at least looking at it from a post-Utopia POV the Philoktetes reference fits Jack much better than Mary, and that a lot of Jack's story in S1 is told indirectly through all the things he doesn't say, the question he doesn't answer, and the themes the stories address, even when they aren't about him as such. And of course there are scenes and lines that take on a different, more serious meaning after S2, or CoE.

When I was rewatching again this summer what unexpectedly caught my attention was Sleeper. It's the one single TW episode I never paid much attention to, because for me the way Jack treats Beth comes close to being borderline triggering and I have major issues with the way the episode from the beginning operates on the assumption that she is guilty, even when this is far from clear to the audience, but if one looks at Jack's story from the mortality/humanity angle, it becomes really obvious that the question of what makes us human, the mind or the body, is far from irrelevant.

Maybe this is me completely overinterpreting, and maybe it's time I stopped writing about TW until I get new material to think about (I think it really is...), but for all that Jack is almost in the background much of the time, on some level he determines the mood of the show and the choice of stories a lot more than is immediately visible, as with the shift from the bleakness of S1 where Jack struggles with his immortality, towards a more positive mood in S2, once he at least partly and temporarily resolved his issues in Utopia/SotD/LotTL.


How to best describe this? A brief episode by episode discussion of all the little parallels and repeated themes, focusing on Jack's story S1 through CoE. )

solitary_summer: (Default)
[Hu. I still can't quite believe that I'm actually, finally, clicking 'post' on this entry.]


Author's note (sort of): Massively tl;dr, sneakily disguised by fake lj-cuts; don't say I didn't warn you. Looking at the deaths seemed like a good starting point since they're such a persistent theme and especially once the last three DW specials turned the entire story into a struggle with death and the acceptance of mortality, and it... kind of got out of hand from there. A little. A lot. It still feels like an awkward and unsatisfactory compromise in far too many ways, but it's the best I can do at the moment and after six months of turning this over and over in my mind I'm tired. Camus quote notwithstanding, no philosophers, living or dead, were harmed mangled quoted embarrassed in the making of this post, but I'd never even have found the courage to write this without the inspiration from Rüdiger Safranski's books, most of which I read while I wrote & watched & wrote & rewatched & rewrote & edited. I hope he doesn't self-google.

Final note: TW (abbreviated) refers to the show, Torchwood (written out) to the institute; DW only to the RTD era and 'The Doctor' only to Nine and Ten, because everything else, even if I'd watched more of the old series than I have so far, would be completely beyond the scope of this post.



You think knowing the answers would make you feel better?

Death, life, and what it means to be human in Russell T Davies's Doctor Who and Torchwood





There is but one truly serious philosophical problem, and that is suicide.

~ Albert Camus, The Myth of Sisyphus ~

For the sake of goodness and love, man shall let death have no sovereignty over his thoughts.

~Thomas Mann, The Magic Mountain ~

'Who said you're not important?'

~ The Ninth Doctor, 1.08 Father's Day ~




I. Doctor Who S1: Everything has its time and everything dies. )


II. Doctor Who S2: We forget because we must. )


III. Torchwood S1: It's just bearable. It has to be. )


( IV. Doctor Who S3: Rage, rage against the dying of the light. )


( V. Torchwood S2: That's what I come back for. )


( VI. Doctor Who S4: We always have a choice. )


( VII. Torchwood Children of Earth: So, tell me, what should I have done? )


( VIII. Doctor Who 2009/10 specials: Lived too long. )

solitary_summer: (Default)
I must have caught something from T. at work, because I've been feeling rather crappy for the last few days, but as usual (and unlike T.) not sick enough to actually justify staying at home. Slept a lot, with lots of weird dreams. Also managed to put up a mirror, a shelf and hooks for the kitchen towels, all of which have been lying around for, oh, a year.



So I'm rewatching TW (for the nth time...), and I realise this is a bit ironic after an insane amount of Jack/Ianto meta ever since S1, but deliberately watching the show without any kind of ship-related focus is actually a huge improvement. Strangely enough even when it comes to Jack/Ianto. Without expectations or always being busy making mental notes what is right, what is wrong, or could be better, or, or, or. Because in the end TW might be about relationships a bit more than it is about aliens, but they're simply not all that important either, or if they are it's rather the idea of relationships in the abstract, the theme of relationships vs. isolation, more than the actual relationships on screen.


One thing I noticed, though. The stopwatch, which seemed a bit random at the time. It's really not. Time. Measured Time. Time running out; right from the start. Ianto with his stopwatch, and Jack with all the life that Suzie wants and he wouldn't wish on her. IMO it's no coincidence either that Small Worlds with the tragedy of Jack and Estelle comes right after the episode that established, even if it was in a rather complicated, fucked up way, the beginnings of that relationship.

solitary_summer: (Default)
No, I don't have a life (obviously). Yes, the pseudo-artistic reverse numbering is intentional. I don't really know any longer if it works, or if the whole thing is good, complete crap, or anywhere in between. The only thing I do know is that I don't want to re-, re- & re-write and -edit it until & beyond Christmas. Wonky tenses will just have to remain wonky. Not that I was even planning on writing anything this long again after the last CoE post. Maybe a few bullet points and screencaps for the Jack/Ianto stuff that didn't fit in there. Maybe. But then I stupidly thought, if this was—barring a flash-back/time travel episode in a potential fourth season—the last time I was going to use the jack/ianto tag I might as well try to write something slightly less slapdash. *buries face in hands*

Jack and Ianto, S1-3. Massively tl;dr. Managed to draw the line at footnotes. And there are pictures.

[ETA: An exploration of the time and mortality/immortality motifs in their relationship can be found here: The World Is Always Ending: Time in Torchwood's Jack/Ianto Arc.]




VII. 'I love you.' — 'Don't.' )


VI. 'It's all my fault.'— 'No it's not.' )


V. 'The Jack I know would have stood up to them.' )


IV. 'Why didn't you tell me. I could have helped.' )


III. 'We better make the most of it then.' )


II. 'Speak to me, Jack.' )


I. 'No. You pretend that's all there is.' )


VIII. 'Don't forget me.' — 'Never could.' )

solitary_summer: (Default)
Things I missed the first (& second) time, part 2.

Mary and Jack and the Philoctetes reference in Greeks Bearing Gifts: it wasn't obvious in S1/pre-DW S3 finale context, but in hindsight the analogy fits Jack even better than Mary, because Philoctetes wasn't a criminal, or political prisoner, or (as she claims) forgotten. But the odd thing is, the version Jack tells ('He got into an argument and was marooned on the island of Lemnos for about ten years.') is not the traditional/canonic one either; Philoctetes was left behind by the rest of the Greek army after he'd been bitten by a snake and the wound festered and they couldn't bear the stench and cries of pain.

'What are you?' — 'I don't know.' — 'And you would have put me in a cage.'

~*~*~


Of course a lot of things become clearer in hindsight, but even so a good part of Jack's story was being told, or at least foreshadowed in the silences to all the questions he doesn't answer, or story-lines that are, ostensibly, about something else.

'Doesn't it get lonely, at night?'

'All that deception because he couldn't bear to live without her. So, have you ever loved anyone that much?' He has to bear it. 'Can' has nothing to do with it.

There's a whole arc from Jack's weary, too-knowing silence at the end of Countycide, when Gwen needs to find out why they did it, to how Tosh's despair about not being able to live with the ugly side of humanity the pendant showed her ('I can't stand it any more, the weight of it. The depravity. The fear. It fills me up. [...] I can't forget the things I've seen, the things I've heard. It's like a curse, soemthing the gods sent to drive someone mad.') is intercut with Jack standing on the church tower waiting for a glimpse of the TARDIS, or her question at the end of the episode about how she can live with that knowledge, that he can't answer either, only brush away her tears, to Jack's 'I wouldn't wish that on her. I'd sooner kill her right now,' in The Keep Killing Suzie, and the full revelation of Jack's own despair in Out of Time. ('You can't take away our names. For God's sake, man, it's all we've got left,' is quite telling considering that Jack did just that, leave even his name behind.)

Combat is a warning about what happens when you give in to that despair and fail to find or even look for any kind of positive meaning in life, and Captain Jack Harkness is a reminder of the opposite—heroism, responsibility, duty, love. The first time I listened to the DVD commentary I was actually wondering where JB was going with all the talk about self-discovery, but he was right, it is that for Jack; his struggle with the concept of a heroism he wants but can't really have any more ('He can't bail out because his whole plane is on fire. But his men all made it back to safety.') leads straight to his self-sacrifice in End of Days ('What if everything has been leading to this moment? Maybe the reason I couldn't die before this was so I cuold make this sacrifice.'), and confronting his loneliness ('There is no one.') to the the kiss and decision to turn the thing with Ianto into something more serious even if it wasn't going to last, which I think was already essentially more or less made then, and not in the year that never was, even if Jack keeps struggling with this until Ianto tells him what the original Captain Harkness told him then - make the most of now.


In hindsight, even Eugene's wait for the alien to come and get the eye could be seen as reflecting Jack's own century-long wait for the Doctor to come back and pick him up again...
solitary_summer: (Default)
So I might have started to rewatch TW (and what's maybe even more pathetic, mostly for research/confirmation purposes), and there's something in Day One that I'm genuinely curious about. The thing is, generally speaking my brain doesn't work in very sexual ways, so I suspect other people might see this rather differently, but... The-alien-in-Carys and Jack, specifically Carys's speech in the end ('Make me feel alive. Make me feel human.') and this is where Jack, who looked at her with a whole lot of disgust a moment before, suddenly decides to help her. 'Travel halfway across the universe for the greatest sex, you still end up dying alone.' The whole plot is so completely cracktastic that I never really paid a lot of attention to this episode, but there's already a bit of a point in there that will-shag-anything-if-it's-gorgeous-enough is all very well, but maybe not the end and be all, is there? A bit of a parallel?

Another thing that I've never really noticed before—Jack only starts taking Gwen really seriously after she was willing to risk her life to save Carys, even when he's already given her a get-out-of-jail-free card. ('We all make mistakes. Get over it.') Before... amused, indulgent, a bit patronising. It's seeing that this isn't just cheap, sentimental talk for her, but that she really means it that makes a difference. Well, either that, or the kiss. I prefer to believe it's the former.


And I honestly didn't remember just how much CoE recycled the ending of Small Worlds, actually breaking the fourth wall a little too much for my taste. I guess continuity-wise (er. continuity-in-reverse-wise?) it does make sense that Jack would only let her go when it was very clear this is what she wanted, and that she wouldn't be harmed, but still... Actually, this tendency to reuse themes, looking at them from a slightly different angle, sometimes improving them, sometimes not, is my main quibble with RTD, although I guess not only with him, since he didn't write Exit Wounds, which draws much too heavily on Last of the Time Lords, right down to 'I forgive you', which of course already was a key line in End of Days. 'Thought you were gonna say he was your secret brother or something.' — 'You've been watching too much TV.' Riiiight. *sigh*

~*~*~


In other news, there are no other news. Life continues to be un-eventful, and the weekend was too short as usual. Meh.

solitary_summer: (...singen die sirenen)
*hides face in hands* 5000something words. *questions own sanity*

Torchwood: Children of Earth - Ethics, narrative structure, and why I don't think that Ianto's death was meaningless, or homophobic; still not touching that debate, though. Well, mostly. Also some thoughts about Jack that just kinda happened. Um.

Many thanks go to [livejournal.com profile] alex_beecroft, who took the time to discuss this with me and helped me clarify and verbalise my own thoughts.


The plot, then, is the first principle, and, as it were, the soul of a tragedy; Character holds the second place.
A perfect tragedy should, as we have seen, be arranged not on the simple but on the complex plan. It should, moreover, imitate actions which excite pity and fear, this being the distinctive mark of tragic imitation. It follows plainly, in the first place, that the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity: for this moves neither pity nor fear; it merely shocks us. Nor, again, that of a bad man passing from adversity to prosperity: for nothing can be more alien to the spirit of Tragedy; it possesses no single tragic quality; it neither satisfies the moral sense nor calls forth pity or fear. Nor, again, should the downfall of the utter villain be exhibited. A plot of this kind would, doubtless, satisfy the moral sense, but it would inspire neither pity nor fear; for pity is aroused by unmerited misfortune, fear by the misfortune of a man like ourselves. Such an event, therefore, will be neither pitiful nor terrible. There remains, then, the character between these two extremes- that of a man who is not eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty.
- Aristotle, Poetics -



Pt. 1, Complication: 'Sounds like a good deal.' )


Pt. 2, Reversal: 'Let's go stand up to them.' )


Pt. 3, Unravelling: 'I began to like it. And look what I became.' )


This is the CoE I saw. This is why I don't hate it, even with the crying at 3 am and whatnot. It took me a while to actually put my feelings into thoughts and words and then kept adding & editing especially once I rewatched it, and clearly I'm completely insane, but my brain refused to let go and maybe writing is my way of dealing but essentially this is what I saw the first time. It never felt alien, un-TW-like, to me me, and still doesn't. A bit more New Who-esque maybe with the sheer scope of the story, and as far as TW continuity is concerned I wish it hadn't come right after the S2 finale, because in many ways it feels almost like a (extended and vastly improved) rewrite with more inner logic and better balance, pacing and casting. But in the end it's simply a too good a story to hate.

solitary_summer: (kamiile s/w)
Quite embarrassingly long and rambling, and probably doesn't make a whole lot of sense.


Torchwood 1.12 Captain Jack Harkness & 1.13 End of Days )


Plus a couple of questions...

- How much time elapsed between Jack's disappearance and his return? Weeks? Months? Is there any canon evidence that I missed? Fanon theories?

- Unless it occurred to Jack to disable the internal cameras and the CCTV outside between grabbing his coat and running after the TARDIS, there'd at least have been footage of Jack packing the jar with the hand and rushing outside, possibly even of the TARDIS, wouldn't there? They could trace Gwen's movements in the first episode after all, and the TARDIS landed right in front of the Millennium Centre.

- TW novels. ::sigh:: I've kind of given up on Another Life because it simply bored me. All the pieces are there, I could even see how that might work on screen, but in book form it never really comes alive in my head. So I'm just going to be shallow (more shallow, considering we're already talking tv tie-ins) and ask if there are worthwhile Jack/Ianto moments in any of the later ones that might persuade me to buy one or two of them... :)

solitary_summer: (Default)
Briefly, because there is so little shippy stuff. Not that I watch TW for the shipping, but it rather does invite the rambling...

And I really miss writing. I miss having enough of a brain left in the evening to write, because these days when I come home I certainly haven't. Add a sentence that popped into may head at work to the fic-that-isn't-going-to-happen, maybe. (Work: boring, except when the Extremely Annoying Customer of the day coincides with the credit card machine freezing, yet tiring. I read a crime novel set in 19th century Istanbul between Saturday and today. Which obviously I totally shouldn't be doing. But there's only so much dusting I'm willing to do per day.)



Torchwood 1.09 Random Shoes & 1.10 Out Of Time )



Tried (but probably failed) to convince my mother that the one thing I'd like to do on/with my birthday is ignore it. I dutifully make cakes and turn up for dinner and whatnot for everyone else's birthday, but since this is mine I don't think it's too much to ask that I get to do (or not do) what I want. Grr. And sitting around with the parents when I know what they're thinking is that I'm another year older and still a failure while my sister is there with her daughter & boyfriend & doctorate... Sorry, but No. I don't need the extra depression.

[ETA: I love my sister any my niece. It's my parents' attitude that makes it so problematic for me.]


solitary_summer: (tisch und bank)
Meh. I'm still not happy with this, but I doubt it's going to get any better or more inspired any time soon.


1.07 Greeks Bearing Gifts )


1.08 The Keep Killing Suzie )
solitary_summer: (Default)
1.05 Small Worlds & 1.06 Countycide )



Something that occurred to me is that for a show that has such brilliant emotional moments about love, loss, the meaning of life and everything, the actual relationship building on TW is generally a bit sketchy. It's not just Jack and Ianto, it's also Jack and Gwen - pushing that for about three episodes, then putting it on the back-burner for the rest of the season only to rekindle it with a vengance in S2. The most consistent relationship is the one between Owen and Toshiko, and there the changes are not so much about them, but Owen's character and attitude.

As for Jack/Ianto, looking at it from a writer's perspective I think the problem is that they've manoeuvred themselves into a bit of a corner with Jack's immortality, much like Joss Whedon did with Angel and the gypsy curse, which was a good idea for the Buffy/Angel storyline, but led to all kinds of awkwardness and ultimately a rather lame resolution in Smile Time.

I'm pretty sure that when resurrected!Jack got his own series no one thought about what it'd mean writing a relationship for him. What I could imagine is that Jack and Gwen were supposed to have this slightly angsty Mulder and Scully thing, only with Gwen and her boyfriend and Jack shagging the teaboy. And then they decided not to kill either Ianto or Rhys and were left with a bit of a problem, because while Gwen can easily marry Rhys and still have the impossible/unrequited love thing with Jack, to turn Jack/Ianto into some sort of actual relationship beyond 'just sex' takes a bit more of work, without being able to fall back on patterns and conventions. Love, even (or especially) on tv, needs at least the illusion of permanence, unless you're specifically setting out to make a point about the impossibility of that, and with Jack that isn't really an option any longer. What we learn about Jack and Estelle in Small Worlds is a reminder of that, and perhaps a hint that Jack/Gwen isn't going to happen. They can't blend out that aspect anymore after all the angsting Jack does about his immortality in S1 and having established in DW that although he will die eventually, this will be billions of years in the future. Ianto who? Or, for the matter, Gwen who?.

The only option left is to take a brutally realistic carper diem approach and try to build a relationship around that knowledge, which is essentially Jack saying "I can't give you what you want (or will want, eventually); I can't even promise I'll remember your name." and Ianto, saying "I recognise that, but let's try it anyway, and can we talk about the 51st century omnisexual slut thing now ", which is not uninteresting, and I think could be done, especially on TW, but as far as tv relationships go it's rather bleak, and would take more thought and development than the show has been willing to give any of its relationships so far.
solitary_summer: (Default)
Wherein [livejournal.com profile] solitary_summer still has too much free time and no life whatsoever.


1.03 Ghost Machine )



1.04 Cyberwoman )

solitary_summer: (emu)
As of today I'm officially the complete loser sister of a Frau Doktor with boyfriend and daughter. Strangly enough though I'm not even particualrly bothered, and I haven't quite been able to decide whether that's a good thing or not...



And now without further ado, onto the Torchwood rewatchage. *g*

TW 1.01 Everything Changes )


1.02 Day One )

solitary_summer: (Default)
Because I ordered myself to finish this during my week off, before I lose interest and it joins all the other forever unfinished fanish posts in their folder. (OTOH? I'm almost tempted now to take out again the Angel/Wesley one. Almost.)

Not that it matters much either way, but... eh. If my brain insists on starting this kind of posts. ::shrug::



Thoughts about the Jack/Ianto... we can call it a relationship, right?


Wherein I over-interpret in rambling & massively tl;dr ways, and I'm not joking here. )


solitary_summer: (Default)
How is Sunday almost over already? Lunch at the parents, cuddled my niece & gave her the plush feel book I'd bought & which she was absolutely fascinated with, especially since two of the pages had some kind of plastic inside that rustles when you touch them. ::beaming proud aunt mode:: Also realised that I need to memorise some child-appropriate songs, because at the moment when I carry her around when she gets bored and disgruntled I'm mostly singing/humming nin to her, since these are the only songs I know more than 25% of the lyrics to; I do it in a very positive tone of voice, and she did seem to be intrigued by my extremely off-key version of The Great Below but it still feels kind of weird and just can't be ideal, atmosphere-wise...


Finished the Torchwood DVDs in a mini-binge [2008? nine months? ::sigh::], and on the whole really enjoyed seeing the series again - I wasn't entirely sure for the first few episodes, and it's a sad thing that you can never quite recapture that initial burst of fanish enthusiasm, but generally it stood the test of re-watching very well and the emotional intensity of Cyberwoman pulled me right back into it, after which it gets constantly better and starts to run more smoothly.

And I love everything from Random Shoes to End of Days. The tension really starts to build up with Out of Time - I love that episode, the parallel arc of Jack and Owen that starts here and ends with the hug in the finale. Owen's raw vulnerability in the first night with Diane, totally overwhelmed and already very much out of his depths; I think that's the first time we're really seeing the hard mask slip. Jack opening up to John so easily, and again it's like a mask being taken away, only the thing Jack uses as a mask is his charm. The scene in the car is one of the most heart-breaking and surprising (would never have happened on an American show) moments I've seen on any tv show, and Jack's look at the end is awful, the emptiness, the hopelessness. I really like the dark streak in Jack that emerges over those episodes. That's something I hadn't really been fully aware of, because I didn't know Jack's back-story when I first saw the show; how much he doesn't want to be there. Two hundred years, and maybe he's gone native a bit, but he's got a hand in a jar that's probably worth more to him than almost anything at Torchwood and a fondness for standing in high, conspicuous places, waiting to picked up again, to be able to travel through the universe again instead of being marooned on this planet, stuck in an era he doesn't particularly like, picking through the debris of all that is out there, out of his reach. I wonder what they're going to do with this in the second series, what is going to convince Jack to come back/stay, because he obviously is very ready to leave at the drop of the right hat.


[And then there's this half-written, extremely rambling and very much tl;dr post about the Jack/Ianto relationship ... ::sigh::]


[On a side-note, though, what I don't quite understand is the whole OMG!adult!sex!violence! hype. Or the complaints about that. Compared to Dr. Who, which I've only seen a few episodes of so far, maybe, but on a grander scale of things? Not so much. Not that I'm complaining, mind. But If you leave aside the feeding-on-orgasms alien in Day One, which was clearly done with a bit of a wink at the audience and not to be taken deadly serious, pun not intended, there are exactly two a little more explicit sex scenes in one single episode, and they're anything but gratuitous, but crucial to the plot and Owen's character development. Countrycide was gory and a bit extreme, but I've seen as bad, if not worse, on the X-Files or CSI. Either Buffy or Angel had more explicit violence and sex than the average TW episode...]

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