we all wanted to be somebody else. somebody braver, or more handsome, or smarter. it’s what children want. it’s what you grow out of, if you’re lucky. if you don’t, it’s a life time of agony.
#hero of the story #(doesn’t make other people villains! means the world’s complicated. WHOLE POINT)
BOOM, THE VERY THING THAT DRIVES ME UP A VERY SPECIFIC WALL ABOUT THIS SHOW: they framed it like this! That is their central conceit—did they miss that, somehow? Yes, they chose to write about the deconstruction of her story, but that doesn’t change the fact that we are operating in a story framework she crafted. That she mastered by knowing the rules of storytelling and which she crafted into allowing her the happy ending. She gets everything that the world denies her kind before: you don’t get to mother a child when you’re a witch, you don’t get a peaceful kingdom if you’re a wicked queen, you don’t get a prince climbing out your window when you’re the antithesis of a princess. It’s her damn world, and we’re watching it fracture via the entrance of someone unwritten, but that doesn’t mean that it’s not a thriving story about her. The point is the story, the town is the story, and it’s hers.
Which doesn’t absolve her. Which doesn’t vilify everyone else. Actually no wait, look at the things she chose to do to everyone around her: she didn’t make worlds where they were miserable or abject; she made worlds where they were still. Comas (instead, I might add, of death), marriage, small-scale sweet-natured gainful employment. Little lives. Unmagical lives. She stripped the scale of the story, and in doing so, she stripped the concepts where Good means Rewards and Evil means Punishments: that’s what brings us into the real world. Where you gain exceptionalness by wanting it and pursuing it and gripping it with your nails, by making the world what you want it to be, not by letting the narrative work for you.
That’s the format. That’s where the show starts, where it drops its plot.
And then…it…wants us to want to rend our way back to childhood? Yeah, a grown-up commandeered this story a long time ago. Drop the stars from the narrative’s eyes, let the characters work for their place in the story and for fuck’s sake, let the AUDIENCE work. We can do this. We’re grown-ups, too.
(Source: i-am-watsoned, via hariboo)
it’s me, i made a horrible mistake. i don’t know what to do. help me. please.
(Source: fabray-hudson, via annelli0t)
This week’s The Good Wife was fantastic, but yech, the way they treat race and people of colour on this show always frustrates me. If I were more awake and had less work to do maybe I could mount a better argument about this, but. I can think of three black characters who were given something to do in the last year (i.e. excluding Julius Cain, who’s still a partner at the firm, but flits by in an episode once every half-season to make a point about race, or something) - Derrick Bond, associate: fired! And I do feel like he was brought in and set up to fail as he did.
In this episode alone!: Wendy Scott-Carr, the person who led the case against Will, and when that case failed the show framed it as her failure! (And I don’t think I’m being overly sensitive about this, because even with Cary and Dana in the room with her at all times, every time someone from Lockhart-Gardner nailed it at the stand, and when we saw the case falter against the jury at the end, we saw her reaction: crushed and lost for words and caught completely off-guard.) Dana, who gets tricked by Kalinda (who’s shady but the audience does love her) and then slaps her. (And let’s not get into the “Cary likes dark-skinned women” thing, whatever that was.) It says more against them than not. :/
Plus this show likes to bring in weird science to justify racism? or something? I just. Dramatically this show is so good, and I enjoy these characters so much, and I love these ladies so much (Kalinda! textual bisexual who is badass!), but the way it handles race and other political ~issues~ is so sketchy.
#all of my problems #with #the good wife #GREAT SHOW ABOUT LADIES (USUALLY)!!! #TERRIBLE WITH THE RACE YOU GUYS #LIKE CAN I GET A POC PROOF READER OR S/T?
Outstanding Performance by a Female Actor in a Leading Role
Viola Davis’ Acceptance Speech
FT. ALL OCTAVIA SPENCER’S EMOTIONS
(via magalimoon)
4x13 > 5x13. Calling it in advance.
(Source: jessramblings)
