I feel as though my fannish interests are drifting further and further away from the LJ/DW zeitgeist, which makes me hesitant to post about the stuff I'm enjoying. So, as an experiment, I'm going to try to post in code to make my enthusiasms sound more relevant to everyone else's interests.
I've been catching up on
The Secret Six Leverage and I'm really enjoying the "band of misfit outlaws" team vibe and
Gail Simone's John Rogers' writing. And the characters are great -- I had my doubts about
Bane Eliot at first, but I think I like his dynamic with
Scandal Savage Sophie.
Another recent find is
The Mighty Avengers Merlin. I'll admit, I found the
art anachronisms jarring at first, but it's very well done visually. And the writing somehow hits that magical "so wrong, it's right" sweet spot. The characterization of
Hank Pym Uther is especially inspired, and I'm intrigued by where they're going with
Loki Nimueh.
A pretty strong episode of
SYTYCD Canada Supernatural this week; I haven't seen tonight's results show yet, but I'm assuming that
Melanie B. Castiel gets eliminated. Still,
America's Best Dance Crew House had possibly its best episode this season with the Bollywood challenge.
...okay, I'm stumped for what to substitute for professional wrestling. I guess I haven't used the Star Trek reboot yet: if Randy Orton = James Kirk, who's the WWE's Spock?
Wow, this code thing pretty much went all down hill after Secret Six/Leverage, huh? ETA: or possibly during.
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And I, too, was soon bored by LoM, though I think it's a well-made show; I didn't have the patience to try matching up all the LoM eps with their A2A counterparts. But I came to it after seeing A2A, and with a negative bias thanks to the prevailing fannish Gene Hunt Will Never Love Some Annoying Woman meme.
That said, here's my VRY SRS opinion: LoM was a well-written but conventional drama dressed up as a time-travel buddy-show hybrid. Ashes to Ashes is an artful and surprisingly (for the medium) astute analysis/critique of the sexual politics of aforementioned formula (including some commentary on the audience) that nevertheless manages to maintain its membership in that set of formulaic narratives in good standing. Plus: funny.
Hm. The Secret Six, eh?