Joined
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595 Posts
6:34pm. feeling so unloved. it will pass. this will all pass.
it is really only in that first episode, only in the pilot, that you get a vision of what the show could have been. the subtlety, darkness, and detachment of this other show--just as dramatic (with a hint of whit stillman ("i don't care if it's murakami. it clashes with my sofa.")), but with understated dialogue, sometimes almost atmospheric, but also well-considered to build things in a certain direction, or many. blair in lace on lace makes me ache. the vulnerability in her face. by the second episode it is written with such a blunt tool, a little day time soap, generous recourse the trope of the confrontation. still the characters, the scenery, the fashion, and the well- casted actors evoke what the writing tends to undermine. the writing does come thru at random times, something smart, but in the rush they didn't let that intelligence shine through, and plodded through the execution of a very good premise. maybe plodded is too strong. it was obviously not devoid of inspiration; none of the seasons were. chuck should of course have always been a lurking villain, showing the darkness that is normalized and that helps to make the world in which they live, the person who provides resources when people are in a tight spot, the evil man the good man, nate, does not unfriend despite him being a rapist (again not too far from whit stillman); but how stupid to make him a redeemed member of the group. that smile between chuck and blair on the balcony in the pilot was beautiful, the darkness in her. so ues glamor but also so high school. it was: popular walked so it could run; it was peak. to have something between them was a natural choice. to have a love story? obviously stupid. blair, leighton meester-blair is one of the most compelling characters ever created, so much so that the terrible writing that continually undermines the character takes a backseat to the vision of what the character is supposed to be that you can't help see, at least pre-sarah lawrence begging scene, and later still every now and again. the little laughing eyebrow raise when serena comes in acting all "what? why the sudden cold shoulder b" when her trust has been broken, so she acts like the bitch, but it was serena who was the actual..
i'm down. i want love.
it is really only in that first episode, only in the pilot, that you get a vision of what the show could have been. the subtlety, darkness, and detachment of this other show--just as dramatic (with a hint of whit stillman ("i don't care if it's murakami. it clashes with my sofa.")), but with understated dialogue, sometimes almost atmospheric, but also well-considered to build things in a certain direction, or many. blair in lace on lace makes me ache. the vulnerability in her face. by the second episode it is written with such a blunt tool, a little day time soap, generous recourse the trope of the confrontation. still the characters, the scenery, the fashion, and the well- casted actors evoke what the writing tends to undermine. the writing does come thru at random times, something smart, but in the rush they didn't let that intelligence shine through, and plodded through the execution of a very good premise. maybe plodded is too strong. it was obviously not devoid of inspiration; none of the seasons were. chuck should of course have always been a lurking villain, showing the darkness that is normalized and that helps to make the world in which they live, the person who provides resources when people are in a tight spot, the evil man the good man, nate, does not unfriend despite him being a rapist (again not too far from whit stillman); but how stupid to make him a redeemed member of the group. that smile between chuck and blair on the balcony in the pilot was beautiful, the darkness in her. so ues glamor but also so high school. it was: popular walked so it could run; it was peak. to have something between them was a natural choice. to have a love story? obviously stupid. blair, leighton meester-blair is one of the most compelling characters ever created, so much so that the terrible writing that continually undermines the character takes a backseat to the vision of what the character is supposed to be that you can't help see, at least pre-sarah lawrence begging scene, and later still every now and again. the little laughing eyebrow raise when serena comes in acting all "what? why the sudden cold shoulder b" when her trust has been broken, so she acts like the bitch, but it was serena who was the actual..
i'm down. i want love.