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I always thought the WGA strike saved this show from being canceled after the first season. As I undestood it, ratings were fairly low and it was already on the bubble, but Fox needed established shows for people to return to once the strike ended. If there hadn't been a strike, the truncated season 1 would've likely been canned mid-season and we wouldn't have gotten a second. Am I remembering this wrong?Kin posted:I thought the ending was perfect as it closed the loop. This is EXACTLY what I always got out of the ending, and I was confused as to why people thought it was open-ended or wrote over everything. It definitely left some present-day threads open (like Catherine Weaver's whole agenda) but as for what the ending implied for the future, I thought it was perfect. I figure a season 3 and beyond would just be Sarah dealing with present-day fallout while shifting to John's rise to notoriety in the future. She could write him letters or record messages that he'd find later or something in order to connect the two plots. Or maybe she's even still alive in the future, who knows? This is one series I really hope gets closure through a Dark Horse comic sequel or something, the way Firefly, Buffy, and The X-Files are getting.
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Mar 21, 2014 00:59
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I liked how they kinda toyed with the idea that the Conners want JD to happen. If they succeed and stop JD, what does that leave them? The idea of reigning in hell is appealing on a certain visceral level and John feels the draw. I can't remember any specific examples but I remember it came up a lot in the threads when the series itself was running.
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Mar 21, 2014 06:34
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Shbobdb posted:I liked how they kinda toyed with the idea that the Conners want JD to happen. If they succeed and stop JD, what does that leave them? The idea of reigning in hell is appealing on a certain visceral level and John feels the draw. I can't remember any specific examples but I remember it came up a lot in the threads when the series itself was running. They wanted it to happen for two reasons. One if it doesn't than John's life is pointless. His entire life was preparing for it. The second is what will happen if it never happened, since John's entire existence is due to it.
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Mar 21, 2014 13:16
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bobkatt013 posted:They wanted it to happen for two reasons. One if it doesn't than John's life is pointless. His entire life was preparing for it. The second is what will happen if it never happened, since John's entire existence is due to it. Where did you get this interpretation from? Watched the whole series for the first time recently and I doon't remember any parts where they do anything like this. The only thing that comes close is the conflict between risking John's life to stop judgment day and him surviving to lead the fight afterwards.
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Mar 21, 2014 13:40
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Syncopated posted:Where did you get this interpretation from? Watched the whole series for the first time recently and I doon't remember any parts where they do anything like this. The only thing that comes close is the conflict between risking John's life to stop judgment day and him surviving to lead the fight afterwards. I was talking about the post before me.
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Mar 21, 2014 13:47
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Ok!
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Mar 21, 2014 14:59
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Episode 3 - Heavy Metal So, first things first. I remember this episode being really good and one of the highlights of the first season. This is because, if I'm remembering right, it focused on John, Sarah and Cameron for the most part while furthering the Cromartie plot. It'll be interesting to see how it holds up on a second viewing. The episode opens with a lot of faces. Artworks, sculptures, all depicting the human face. Perhaps most strikingly is the half skull/half flesh piece, an image which is something of a repeated motif throughout the Terminator films (Terminator 2, Terminator 3). It is the office of one Doctor David Lyman, and he is not alone. He finds Cromartie obsessively going through photos. He stops on one, a phot of of rather unassuming man. A quick analysis of the facial structure gives a 92% match - presumably to fitting with Cromartie's exoskeleton. When Cromartie asks if he performs re-constructive surgery, Lyman is all 'Hey, buddy, leave or I'll call the police' and Cromartie turns, revealing his bizarre, misshapen flesh. "Now," he insists, pulling off his disguise and revealing that nothing about him looks even remotely normal. His eyes stare ahead, just looking at nothing. While this is happening, Sarah is relating how she would tell John bedtime stories. She mentions that she told him the Golem of Prague, a story that involves a created being being made to defend people whereupon it turns on them. What is interesting about this is that Sarah claims she didn't know that was how the story ended, with the golem killing everyone in the town. I like to think that these monologues are very biased to Sarah's own view - doesn't anyone else see that as a sign of Sarah attempting to indoctrinate John to fight against the machines? In any case, the story didn't do anything but frighten John. When Sarah said she made it all up, that only seemed to make it worse. It's a nice subtle reminded that John is gentle and idealistic. So, John is writing a message on Jordon's memorial Facebook wall. Myspace. Social networking. Whatever. He begins with 'I'm sorry' but closes it as Sarah enters. She does the whole mom thing where she acts like she's coming in to talk about his homework when she's clearly checking up on him to see how he's coping in the aftermath of a suicide. John plays along with the lie, mentioning that his homework isn't hard. Sarah escalates, directly asking him if he's going to talk about it. John does the teenager thing of repeating that he is fine, he's fine, he's fine, fine means I'm fine. I know I repeat myself, but the Sarah/John dynamic is so well done. I remember having conversations like this with my own mother. "I don't want you to blame yourself for what happened," Sarah tells him. "Who said I blame myself?" John replies icily, and eyes Cameron as she appears. "Whaddya want?" "Cromartie is here," Cameron says. "Now." So, Cameron insists that a fire down at the docks means Cromartie is back. Sarah gets this really challenging tone, reminding Cameron that she blew his head off. Cameron has some sort of proof however, in the form of a DVD. It stumps her at first, because it won't play, and John advises her to switch to video two. "Thank you for explaining." The proof comes in the form of a blur from the amateur footage shot when Sarah and co. came to the present day. It's a head, Cameron tells them, and that Cromartie will repair himself. The fire affected a shipment of coltan, material used in Terminator endoskeletons, and so Cameron deduces that Cromartie must be repairing himself by recovering the coltan as it is moved. Sarah immediately goes into full on 'time to run' mode, something Cameron backs up. John, however, puts his foot down and argues that if they know where the shipment is going they know where Cromartie is going to be and then, with that information, they can ambush him and destroy him. Sarah tells him to go get the C4 and that he isn't driving. The C4 is kept in the bathroom, under the towels. That's the Connor family in a nutshell. Pleasant from the outside, explosive on the inside. Oh, and they keep weapons in places where kids could find them. At dawn, they head to the docks. Inside, there's a few men with a truck. All the men are wearing grey coveralls - remember this, because it is an interesting idea that continues throughout the second season. If you're curious as to what it means, however: Skynet sympathisers are referred to as 'Greys', and while these men probably don't know a thing about Skynet, they are working for a Terminator. Cameron keeps watch on the men while John and Sarah set C4 charges. Sarah has this brief smile as she watches John work. Cameron informs the pair that the men are humans. Sarah doesn't seem to care - keep setting the charges because if Cromartie wants to come for the coltan, he'll have to come through this door. A non-descript man enters. He has brown hair, looking vaguely like the image Cromartie selected from the plastic surgeon's database. Sarah gets ready to shoot but Cameron interecepts him and throws him halfway across the warehouse. "He'll survive," Cameron states. When Sarah expresses surprise that, yeah, he's human, Cameron remarks: "Not a very strong one." The truck goes to leave. As it goes, it shows off what's on the other side of it - a pile of dead bodies. The men in grey coveralls are hijacking the truck. "Does Cromartie have people working with him?" Sarah asks, "Does that happen?" "You work with me," replies Cameron. She's pretty evasive for a Terminator at times. Our heroes follow the truck to another location. The coltan is being off-loaded and moved into another truck. John and Sarah share a little grin when John calls Cameron dense. Cameron explains, not seeing the barb, and mentions that it has nothing to do with density, that it is heat-resistance, because the earlier models of Terminator had a titanium-alloy skeleton and it was vulnerable and... Sarah: (sarcastically) You know what I love about you guys? Even when you've evolved into the ultimate indestructible killing machines, you're not above self-examination and improvement. Cameron: (confused?) Thank you. Sarah: (blunt) Please shut up. The interesting thing about that exchange is the quick glance Cameron gives to both John and Sarah. It's like she gets that Sarah isn't being completely factual but she has no idea what the real message behind that little dialogue is. Anyways, Cameron shuts up. The trio continue observing. Sarah points out that they're spraypainting military tags onto what looks like a humvee. A man shows up, looking vaguely like Cromartie from the pilot. Tall, dark hair, broad shoulders, factual manner of speaking that one associates with Terminators. Oh, and he hefts an entire crate of coltan across like it is made of tinfoil. It's not Cromartie though. Cameron states that he's too short, his endoskeleton doesn't match. But aren't the Terminators all killing machines? What is this one doing? The answer doesn't come just yet. Instead, Ellison is investigating the plastic surgeon's office. "Computers are all going to put us out of work one day," a cop tells him. Anyways, Lyman is dead. Place is clean, no motive, no anything. Anyways, they've got security footage. Turns out Cromartie went in on Friday night and left on Sunday morning. A receptionist helpfully points out that the patient had work done in May previous on his chin and nose. And, yep, that's Cromartie... or George Lazlo, as the patient's name is! Ellison finally has his lead. At the docks, John is gung-ho. They have the charges, they can blow the truck as it goes to leave and Cameron can- Sarah cuts him off. They're leaving. The mission has changed, the plan was to hunt Cromartie and that isn't Cromartie. John, to be blunt, doesn't give a poo poo because they have Cameron. Sarah is like, yeah, and that thing has a huge support network - people, cars, real estate. Who knows, there might even be more Terminators. John continues to resist. Sarah, indicating that she knows the effect Cameron can have on John, asks Cameron to tell him to get in the car. "It's too dangerous," Cameron says, unusually soft. "It's always too dangerous!" John replies, "It's war! War is dangerous!" Y'know, like John has any idea what war is like. Sure, he probably has a much better idea than most teenagers, but watching him try to pull that line with Sarah 'I've survived two Terminators' Connor is pretty funny. And still John persists, but he's getting smarter now. He's thinking more broadly. How many Terminators could they make with that coltan? What if they're making them right now? Why don't they just track the truck? Sarah is having none of it. She raises her voice. They're leaving and that's all. They get in the car and Cameron answers John's question - they could make five hundred and thirty endoskeletons with that amount of coltan. Too bad John is diving through the window and into the warehouse. So, John manages to wedge his phone into the shipping crate to use as a tracking mechanism. Unfortunately, before he can get out, he is locked inside the truck - along with an armed soldier. Uh-oh. And to make matters worse, a man in grey coveralls sneaks up on Cameron and Sarah. Sarah waves Cameron back and moves towards him, hands raised. "Have you seen a dachshund puppy?" she asks. And then blindsides him with a hook and an elbow and drops him like a sack of bricks. Sarah Connor kicks rear end. It doesn't matter though, the Terminator, the truck and John Connor are all long gone by the time Sarah and Cameron attempt to give chase. Inside the truck, John is hiding still. The soldier has his gun out and is waving around like he's bored and tired and while I have very little experience with firearms that doesn't look safe or like anything an actual soldier would do. I'm not sure if they're supposed to be actual soldiers or just hired goons who look the part. Anyways, John's phone is in danger of falling to the floor of the truck which would reveal him to the armed man. It clatters to the ground. The man comes to investigate, pistol drawn. And John smashes him with a bar of coltan. Presumably he's out cold. Season 2 spoiler: Because John killing a man in Season 2 has a huge effect on him and is obviously supposed to be the first time John Connor had ever killed someone The phone is smashed, however. Back at the Connor residence, Sarah and Cameron lose the phone signal. Sarah hits the keyboard in frustration and Cameron evenly states that breaking the computer won't hurt. Sarah and Cameron have a brief discussion where Sarah angrily states that Cameron can't possibly know what it is like to lose a son like this. "Without John, you life has no purpose," Cameron replies. Sarah's implication that John isn't ready for this sort of adventure is immediately contrasted against John doing his utmost to get out of the truck, but he can't get the big lock and heavy duty chains undone from inside the tray. However, maybe she is right - because he gives up, exhausted. It's not looking good for John. So, while the truck goes to wherever it is going, we move back to Ellison. This Lazlo fellow has a clean record and everyone is giving Ellison poo poo for being a has-been. His female co-worker is more explicit about it but his African-American younger co-worker is just as smirking and smug about it. He calls Ellison Jim and acts like he's a bit crazy. Ellison questions Lazlo and Lazlo is pretty evasive and monotone in his responses, seemingly unable to tell Ellison about the films he supposedly was in. This must be Cromartie! All the shots of Lazlo's unchanging flat, vaguely pissed-off expression don't help. When he agrees to having a blood sample taken, he doesn't even flinch. He just stares at Ellison. "Can't seem to find a vein," the blood technician states, as the music grows louder and louder and- Then Lazlo flinches and blood is drawn. And the suspenseful spell is broken. "You guys are a bunch of fascists, you know that?" Lazlo snaps and we, the audience, all suddenly know that that isn't Cromartie at all. Lazlo being tied down for a blood sample is then set against the grey-overalled man restrained in a chair. Sarah decks him. He's smug about it, so Sarah says "Tell me where they went or I'll beat you to death" and she hits him again. "And don't call me lady!" Whack-whack! Remember how Sarah wasn't so keen on diamonds? I like how she bucks most of the typical female roles in a story. Don't get your hands dirty, appreciate jewellery, tolerate condescending remarks from men. Throughout this little bit, Cameron has moved to put herself between the chair and the door. Sarah cuts the guy free and tells him that he's free to go, if he "can get past her". The scene ends on one of Cameron's curious little bird-of-prey headtilts. And cuts to the grey-overalled man driving them out somewhere, looking absolutely shell-shocked as he looks over to Cameron who just smiles at him, looking very self-satisfied. It turns out the coltan is being taken to a military depot - a decommissioned army depot - and, as a matter of fact, it has just arrived. Someone else has just arrived at the Lazlo residence, too. Lazlo thinks it is the FBI after more blood but then, in a moment of horror where Lazlo is hauled by the throat into his own bathroom, he comes face to face with... ...himself. Cromartie takes a moment or two to mimic Lazlo's facial expressions and voice before he thrusts him against the mirror, killing him instantly. And now Lazlo's bloodwork is going to come back clean, giving Cromartie a great alibi! So, John is still in the back of the truck. The other two guards find out that they truck tray is unlocked but they don't immediately see their buddy and assumed he did a runner. "Who's going to tell Carter?" one asks. "I don't know, he's your friend." "Friend? He's some guy I just met." So, they're probably not soldiers. John gets out of the truck and hides. Wherever he is, it's a fallout shelter. Ellison is giving a talk to some bigwigs in the FBI. He's sure that Lazlo is the killer. But then his young co-worker is like 'Hey, the blood work came back, it's not a match', and Ellison's boss or something like it is like 'Wait, how did we get blood samples?' Ellison comes up with what is, of course, the exact theory: someone came in, got work done to look like Lazlo, and then left. But his young co-worker punches a hole through it - no anaesthesia was used over that weekend meaning no surgeries were done. Of course, we know Terminators either don't feel or can choose not to feel pain, but the young guy is like 'did you see the work done? You think he got that done without any anaesthetic?' Ellison's boss is still wondering where they got the samples from. And, boom, just like that, Ellison is hit hard. On his way out, the young guy is like 'lol, sorry, but facts are facts'. Greta - his female co-worker - is like 'you should feel less' because all Ellison is doing is rocking the boat and threatening to get them sued. This idea of emotions getting in the way is something we see again and again in TSCC, but also that sometimes - just sometimes - intuitions and gut instincts can prevail over cold machine logic. And the juxtaposition of Greta telling him to feel less when Ellison is saying things like '[It] doesn’t add up just because I don’t have all the numbers yet' which appeals to a quantifiable, deterministic view of the universe. Which is further interesting when we find out that Ellison is deeply religious and spiritual man. Speaking of feeling less, Sarah has dumped the grey coveralled man in a field of landmines. Cameron lambasts it as inefficient. Sarah is like, well, that's what humans do, get used to it. They leave him behind. Some people like to say that this paints Sarah as a monster. It doesn't. Sarah isn't a killer. If the man doesn't move, he can be rescued. She puts his life in his hands, giving him a chance to save himself. And speaking of feeling least, in the fallout shelter, John is eavesdropping on the conversations between the goons and Carter the Terminator. Carter abruptly shoots them both in the head (following a Terminator head tilt) and seals up the fallout shelter. He goes still and silent. It's funny that I'm talking about feeling though, because when Cameron and Sarah arrive in the depot, the background music is almost this angelic sounding choir. It's there, in the background, as Cameron points out that this depot will one day be a factory and that she, and many other Terminators, will be built here. And just like that, the rather nostalgic moment passes into a heavy thump and the two women stand before the big fallout shelter doors. There is no way they'll be moving the doors with brute force. Cameron indicates that coltan is rare in the future and that Skynet must be stockpiling supplies for Judgement Day. Inside, John is staring at Carter who remains unmoving, like a statue. And then someone shouts to John - it's the guy he whacked with the bar of coltan. He asks for John's gun, but John says he didn't shoot the others. It was Carter, the thug's own boss. It turns out the guy's name is Mike and John tries to be diplomatic, telling him not to talk to Carter or he'll end up shot as well. John is like 'haven't you noticed that your boss is a murder machine' without actually stating it. Well, Mike decides it's time for payback. Mike shoves at Carter, who falls over. But just before he hits the ground, Carter plants his fists before him. His head turns to Mike and his eyes glow an ominous red. In a second, he's back on his feet and he has seized Mike by the throat. Mike manages to get off a shot, leaving a deep wound over Carter's eye. It doesn't matter though. Carter snaps his neck. Outside, Sarah blames Cameron for this. Maybe, she says, if you had've let John save that girl, he wouldn't have gone off like this. Cameron doesn't seem to mind. "John does things like this." "Not the John I know," Sarah replies. "The John I know." Then, a phone call. Inside the shelter, John has managed to find an old rotary phone and call Sarah with it. They figure out that Carter has gone into standby mode and so Sarah gives John a mission - to get the door open and then run. The Terminator should have a fifteen second boot up time. Again, John isn't happy about running, but he says he'll do it. "What do you think future John will do right now?" Sarah asks. "We'll see," says Cameron. John manages to sneak past Carter but the button to open the door is unresponsive. It needs a key. And the key is around Carter's neck. But when John goes to get the key, Carter does not wake up, even when everything about the scene from the lighting to the music to the shot of it makes you think he is going to wake up. So, the doors open. Cameron immediately begins laying into Carter's unresponsive form. But he quickly wakes up, grabs a bar of coltan, and turns the tables on Cameron. He begins landing some pretty solid blows, knocking her all over the place. I'm not very scientifically minded, nor can you probably apply much real world physics to fictional future robots, but I'm curious about something. Let's assume that, for all intents and purposes, Cameron and Carter are both T-888s with identical power sources, muscle servos, whatever. The only difference is that Carter is a fair bit larger than Cameron. Would that equate to a definite advantage in combat? Or does it come down to more of the materials and components which would make the two of them even? It's nothing, really, just something I wondered. Basically, would Cameron and Carter have the same strength and speed? Are they evenly matched? Anyways, between Cameron getting walloped and John being unable to drive a manual vehicle, Carter manages to get in front of the truck. He places his hands on the grill and, slowly but surely, begins pushing the truck backwards. Terminators are really strong. So, Sarah blasts him in the face with her shotgun. John drives over him and Cameron recovers in time to yank the key from the lock and close the door. When John insists that he can just get out, Cameron holds up the key and Sarah smiles. "Drive." It's like this little bit of respect has grown between Sarah and Cameron through their similar views over John, although it certainly isn't enough to make them friends. Baby steps. Ellison goes to visit Lazlo - or Cromartie. He points out the food that Lazlo had spilt when Cromartie grabbed him but doesn't seem to think anything of it. He doesn't seem to note the change in Cromartie's attitude from angry and political to, well, bland. This is our first look at Garret Dillahunt's amazing performance as Cromartie, something which will go on to be one of the big strengths of season one and two. Ellison: My bosses told me I should stay clear of you. For legal reasons. Cromartie: I understand. Ellison: But I thought I owed it to you to drop by. Give you a warning. Cromartie: A warning? Ellison: Well, there's a chance, a small chance, but a chance that there's someone out there who might be trying to steal your identity. Cromartie: Steal my identity? What would they do with that? Ellison: What do people do with anything these days? Steal, cheat, harm, and intimidate others, damage the national psyche. Anyway... If you see or hear anything unusual. Call me, any time. Cromartie: Thank you for your help. Ellison: Sure. Hey, have a nice day. Cromartie: Have a nice day. Note here that Ellison gave Cromartie his business card. This will come back later. So, Ellison's trail has gone cold and Cromartie has a perfect cover life again. That leaves only the main plot of the episode - the coltan shipment. Cameron dumps it into the ocean. Over this, as the camera focuses on Cameron, Sarah mentions that not every version of the Golem story ends badly. In one, the monster is a hero, destroying those who seek to harm its maker. In another, the golem's maker destroys his creation before it can destroy the world. The pride of man, Sarah believes, is that anything we make we think we can control (Skynet, the Turk, the atom bomb). Whether from clay or metal, we make our own monsters. Is Cameron good or evil? Will she be a threat? These are questions that extend into season two and the character of John Henry. But then, she links it to John. Children are the same, she says, but made from flesh. And, just like the golem, Sarah can never know what John may do. Still, as they watch Cameron dispose of the coltan, they seem to be doing a bit better, smiling and more relaxed. Even so, at the end of the episode, all three characters retreat to their own worlds. Sarah sits alone in her bedroom, arms around her knees. Cameron, for whatever purpose, has kept a bar of coltan, wrapped and hidden. And, as Sarah remarks that she doesn't know what John may do, John sits at his desk, shaking. Even when he has been trapped in a truck, fought a man, seen three people die and been trapped in a bomb shelter with a Terminator, there is no comfort. Milkfred E. Moore fucked around with this message at 14:34 on Apr 5, 2014 |
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Apr 5, 2014 14:17
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So, why is this episode so good? Like I remembered, it has a clear focus and a clear plot. John gets frustrated and places himself in a bad position with a hostile Terminator while Agent Ellison tries to solve the case around Cromartie. Compare this to the previous episode which can't really be encapsulated so cleanly or succinctly. It's good, it's simple, and unlike the previous episode doesn't cram in what feels like a dozen plot beats. You have your A plot and your B plot while giving us a few tantalising hints of the larger tapestry. For example, what is future John like? And the idea that humans might be working for Skynet, unwittingly or otherwise. It has humor (Cameron and the DVD). It has some good, quick action that reinforces how dangerous any Terminator is, even Cameron. It has nice character moments. None of it feels slow or useless or busy. It also gives some indication of thought put into the wider Terminator mythos. Y'know, what would happen if the Terminators from the movies had completed their missions? How would they act? If the war inevitable, which it appears to be, wouldn't the best thing to do be to hedge your bets and improve your side as best you could? Milkfred E. Moore fucked around with this message at 14:36 on Apr 5, 2014 |
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Apr 5, 2014 14:26
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I left this for a month? Man, time flies. I've been battling some heavy stuff along with Masters work but I'm still working my way through this. I've watched almost all of Season 1. I've also been reading the Terminator Vault. While it concentrates almost entirely on the first two films, only briefly covering T3, Salvation and TSCC, it does provide one very interesting piece of information for The Sarah Connor Chronicles. On a listing of Terminator taxidermy, Cameron is listed as a T-900. I had assumed that she was a T-888, like every other Terminator witnessed in the series. Thing is, however, as I've been watching the series there's a number of things that made me question that. In particular, the fact that Vick scans her down to her endoskeleton and does not recognise her model. It also explains her relatively advanced understanding of human social interactions, more effective sensory capabilities, her ability to go toe-to-toe with much larger Terminators and prevail, and her unique capabilities such as eating and, as we see in Season 2, crying.
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May 7, 2014 07:13
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Milky Moor posted:I left this for a month? Man, time flies. I've been battling some heavy stuff along with Masters work but I'm still working my way through this. I've watched almost all of Season 1. I've also been reading the Terminator Vault. While it concentrates almost entirely on the first two films, only briefly covering T3, Salvation and TSCC, it does provide one very interesting piece of information for The Sarah Connor Chronicles. I also figured, that with most technology, the more advanced it got, the smaller it got. Which is why and T-800 endo was the size of Arnold, the T-888 was the size of a Dillahunt, and the T-900 the size of Glau. Mayby someday Skynet would have been able to design Terminators that were children or infants.
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May 7, 2014 22:47
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*Pokes thread with stick* This thread reminded me I haven't watched this show since airing so I'm three episodes into a re-watch, cheers.
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Aug 1, 2014 22:56
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By the way, as someone who absolutely loved this show and everything about it when it was airing, and miss it immensely, I cannot recommend Continuum enough. It's the only other temporally-focused sci-fi that handles time travel in a similar way to T:SCC, complete with incredible complexity of how the timeline of the series-- what we're watching-- functions. There's a ton of other parallels between the shows, too, with Sarah Connor and Continuum's lead, Kiera Cameron, being an obvious point of comparison.
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Aug 2, 2014 13:10
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rejutka posted:*Pokes thread with stick* I'm still here and I've watched up to Samson and Delilah. Just... haven't written anything about them. I might talk more generally about what works and what doesn't.
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Aug 2, 2014 14:42
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Having watched a few more episodes, this show is remarkably consistent about dealing with terminators - shoot and run. Keep running. There are also interesting parallels and differences between Cromartie and Cameron - they both have an innocence when not in violent terminator mode but Cameron's innocence is curious and wanting to learn while Cromartie's innocence is if I continue like this the situation will resolve itself or I will kill the person making things difficult. I'd forgotten how much of a ruthless pragmatist Derek Reese was as well.
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Aug 2, 2014 17:08
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rejutka posted:Having watched a few more episodes, this show is remarkably consistent about dealing with terminators - shoot and run. Keep running. There are also interesting parallels and differences between Cromartie and Cameron - they both have an innocence when not in violent terminator mode but Cameron's innocence is curious and wanting to learn while Cromartie's innocence is if I continue like this the situation will resolve itself or I will kill the person making things difficult. When Cameron says 'thank you for explaining', it sounds like she means it. When Cromartie says 'thank you for your time', it is always fairly rushed and breathy, like he's saying the words because that's what he's supposed to say but doesn't get the how and why of it (he even says the phrase when he kills a public servant near the end of Season 1). Dillahunt's performance as Cromartie is fantastic.
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Aug 2, 2014 22:31
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Milky Moor posted:Dillahunt's performance Fixed. His performance is the one that turns a named generic terminator into THE antagonist. The penultimate episode of the first season does a lot to pave the way and I am impressed by how grounded the show is, there are moments big and small. poo poo, I watched this show on airing and did not recognize how well put together it is. Well done, you makers, well done. Belatedly.
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Aug 3, 2014 00:11
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rejutka posted:Fixed. And somehow he makes playing with Lego incredibly ominous, too.
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Aug 3, 2014 00:42
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