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03 April 2006 @ 10:44 pm
Prison Break and 24-Ness  

There was both good and bad in tonight's Prison Break. The Lincoln/Michael backstory did not kill me (although Michael crossing the line with Veronica nearly did, and sheesh-- could that woman be dumber?).

Of the bad-- Sara. God, the whole drug addict thing-- why? So stupid and pointless, and I liked her a lot LESS after that. I'm of mixed minds about her running into Bellick at her Meeting-- it's plausible that he'd direct her to that job, AND that she'd just shoot him down the way she did (which made me cringe). Coincidental, but not deadly. And it lays a foundation for later animosity :D

Semi-bad: Lincoln bumping into Sucre in his getaway burst. Just... why? Why even go to that stupid "Lost-motivated" place? Just quit it. It makes your show look like schlock.

Funny: Sucre robbing the SAME liquor store again (dumbass!) and apologizing for it-- and for needing more money this time. Really, it was kind of sweet and so Sucre.

Best parts: Michael telling Lincoln he's tired of being the older brother to Lincoln, the whole Wall-Morphing and a chance to really look at some of the stuff on there, and finding out that Kellerman's been perkyEvil for a very long time. T-Bag's whole creepy story-- AND his manipulative attempts on that poor woman while he was in jail-- that was fantastic. And, on a shallower note, Linc with a hair profile and the beard stubble, ala "Blade Trinity." God, that's a good look for him.


And on the 24 front:
  • What, has the president's wife started taking her meds midway through this day? Her 180 character shift is giving me whiplash.

  • Bro-Prez... still love you. And your dearly-departed brother. Just... smooth for me, a little. Read me the phonebook in your fine-cut suit. And when you're tired, your brother's ghost can take over the talking, and Jack Bauer after that. Really-- I could enjoy this whole show with my eyes shut just listening to these three actors talk.
  • Aaron, you're a buckethead but I secretly love you anyway.
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    The Good, The Bad and The Lana: brothers fencethelana on April 4th, 2006 07:04 am (UTC)
    this isn't the first time he's had to come rescue Lincoln, either.

    LOL, considering what we know about Michael and Lincoln as people, I always assumed that that was pretty much a given.

    Which actually supports the theory that if they hadn't been getting along, that they must have had regular contact. Enough for Michael to help Lincoln regularly and get frustrated with it.

    Mmmmm, want a fanwank explanation for Michael?

    Brain Level:
    - Michael = smart person
    - Michael has a psychiatrist
    - Michael smart enough to know that you shouldn't make excuses for junkies/junkies are weak/you shouldn't pity them

    Emotional Level:
    - Michael really just wants an excuse to get to love Lincoln again. Debt = that excuse => Michael can go into hero mode again; Michael kinda sorta happy with that.

    That actually fits with the "Swear to me". If Michael's brain is telling him that he fears that he is getting in over his head/his judgement might be clouded/he might be *wrong*. But he really *wants* to do it, but he needs one last reassurance.

    Eeee, fanwank explanation complete.

    Personally I haven't checked out TWOP yet, but I don't get why one would be angry at Michael. I get his reaction. Ok, so maybe they aren't what I would like to be from a shippy POV, but they still make sense. What doesn't really make sense is the quick shift in writing from "Ewww, disgusting, pathetic drug addict brother" to "Michael on a mission".
    mooyoo: Linc - Sadmooyoo on April 4th, 2006 07:32 am (UTC)
    A lot of the reaction has been "Michael's such an ass, he's so condescending, what a jerk" with a few people deciding that they really don't like him anymore. Which I was really surprised at, because I thought he seemed very realistic for someone who's been worrying about his brother, who's been watching someone he loves constantly get into trouble, and is fed up with and hurt by it (which we don't exactly have canon evidence for, but that's always been my take on them too)

    What doesn't really make sense is the quick shift in writing from "Ewww, disgusting, pathetic drug addict brother" to "Michael on a mission".

    Exactly. And that really frustrated me with this episode, that they completely glossed over Michael's changing attitude towards Lincoln, which is why it comes off as if Michael's only doing this out of guilt. Which I pointed out over there, and someone replied Well think of this way, the brothers had 3 years before Michael committed his crime to reconnect and be the ones we see on TV today. So I don't of it as too rushed. It's TV time, yo. Which just doesn't do it for me at all. I don't want to hear that Michael's devoted to his brother, I want to see it and see why. *continues to buy completely into miss_mandy's veiw of things*

    - Michael really just wants an excuse to get to love Lincoln again. Debt = that excuse => Michael can go into hero mode again; Michael kinda sorta happy with that.

    Mmm, I like that as well, that he's really looking for a reason to help Lincoln, and leads me to think that maybe some of his anger towards Lincoln is anger towards himself for always buying into Lincoln's shit and for always trying to clean up after him, make excuses for him. And not that he should stop trying to help Linc, but he's been ineffective so far and that's frustrating and he can't stop it. Or something. It's way late here and I should really be asleep right now :p
    The Good, The Bad and The Lanathelana on April 4th, 2006 07:41 am (UTC)
    some of his anger towards Lincoln is anger towards himself for always buying into Lincoln's shit and for always trying to clean up after him, make excuses for him.

    *nods*

    That makes a lot of emotional sense to me.

    Well think of this way, the brothers had 3 years before Michael committed his crime to reconnect and be the ones we see on TV today. So I don't of it as too rushed. It's TV time, yo.

    I hate arguments like that. Stop making excuses for the writers. It is their job to show us. It's not our job to make up stories so their stories make sense. Their stories should make sense on their own.

    Plus, "well they reconnected as Michael visited Lincoln in prison" still doesn't believably translate into "I want to squeeze the life out of you when we hug, and I cry constantly when your life is in danger" for me. Unless the "reconnect" consisted of Michael thinking how hot Lincoln looks on the other side and how he just realizes he really wants to fuck Lincoln but can't because there's a glass wall between them, it doesn't make much sense for me emotionally ;p


    Same goes for the "Well it is an unrealistic tv show, stop complaining when the writers do something wrong.". Doh, what's wrong with calling writers on it when they do something less than perfect? It's called con-crit.
    mooyoo: M/L - Sides walkingmooyoo on April 4th, 2006 07:52 am (UTC)
    It is their job to show us.

    Yeah, I made the "show don't tell" argument, that I don't want to just assume that they reconnected or hear that they love each other oh so much now, I want to see how they reconnect, why they love each other oh so much.

    "I want to squeeze the life out of you when we hug, and I cry constantly when your life is in danger"

    Hahaha, and awwww. *wants some lovey, non-tragic M/L fic now*

    "Well it is an unrealistic tv show, stop complaining when the writers do something wrong.".

    Blech. There are some things that I can go with for the sake of the story, but I get really frustrated when it feels like the writers are just being plain sloppy. And either way, it'd be nice to say that the show is 100% perfect and there's nothing to complain about, but it's not, and it's worth discussing when it could and should be better. But I guess loving a show means never finding any faults with it and never, ever pointing those faults out *eyeroll*
    The Good, The Bad and The Lana: brothers cagedthelana on April 4th, 2006 08:03 am (UTC)
    But I guess loving a show means never finding any faults with it and never, ever pointing those faults out *eyeroll*

    Dude, that couldn't be further from my POV if it tried. If I love something, I want it to do well, I want it to do better, that's why I point out faults so they can be fixed.

    It's like the Emperor's new clothes situation. It's not "love" to not say anything. It's love to point out where something is off so the person you love doesn't embarass themselves.

    If I don't love a show, I don't complain. I just stop watching. I'm not the type to watch a show just to be bitter about it and complain. I just give up caring.

    Complaining = sign of caring.
    mooyoomooyoo on April 4th, 2006 08:10 am (UTC)
    Like watching a soap opera vs. a serious drama - a soap you can laugh at and poke fun at and just watch for the silly drama, but a more serious show you want some semblance of reality, and when you care enough to really put thought into it (whether positive or negative), it shows that you, you know, care.
    The Good, The Bad and The Lanathelana on April 4th, 2006 08:16 am (UTC)
    Yeah, like I said in the thread for the previous episode, it pretty much makes the difference between something being a fun show (like... The A-Team or Stargate Atlantis) and something being a *good* show. And I kinda have the delusion that I'd actually like Prison Break to be a good show.

    If I get the impression that the show doesn't care enough to fix their mistakes or care about continuity and character development, then how can I be passionate about the show? If they don't care enough, that causes the same non-caring emotion in me. And I'll eventually move on to other shows. Again, not that Prison Break is in any danger of that yet, just saying, it's all about the attitude.
    The Coalition For Disturbing Metaphorshalfshellvenus on April 4th, 2006 05:53 pm (UTC)
    I hate arguments like that. Stop making excuses for the writers. It is their job to show us. It's not our job to make up stories so their stories make sense. Their stories should make sense on their own.

    WORD. It's TV-- I'm not supposed to have to WORK to understand your story. And if you're making it random and laughable, well then-- Le Shark, C'est en l'Aire. (or crap to that effect).

    And along with the writers (not their best effort here)... casting directors! Do your job, or get out of the way!
    The Coalition For Disturbing Metaphors: Linc/Michael Angsthalfshellvenus on April 4th, 2006 05:15 pm (UTC)
    A lot of the reaction has been "Michael's such an ass, he's so condescending, what a jerk" with a few people deciding that they really don't like him anymore. Which I was really surprised at, because I thought he seemed very realistic for someone who's been worrying about his brother, who's been watching someone he loves constantly get into trouble, and is fed up with and hurt by it (which we don't exactly have canon evidence for, but that's always been my take on them too)

    Yeah-- Michael's reaction seems very realistic to me. I don't have a problem with it at all, and I get why the repeated frustration over it would make him kind of assy (and there is clearly canon implication that this isn't the first time).

    The problem I have-- and all of you do too-- is that the transition from THAT to MustSaveAtRiskOfOwnLife just makes no sense as shown here. It would have been better to spend some time on the backstory/his transformation, and then build better to the devotedMichael part. By, for instance, chopping out the whole druggieSara backstory ;0 Or the C-Note backstory.

    I mean really, this show is ultimately about the relationship between the brothers. They shouldn't be treated as if they're just incidental parts of an ensemble cast, for crying out loud!
    mooyoo: PB - Breakout gangmooyoo on April 4th, 2006 06:54 pm (UTC)
    the transition from THAT to MustSaveAtRiskOfOwnLife just makes no sense as shown here.

    EXACTLY. I agree, I think they tried to cram way too many stories and too much time into one episode, and a lot of character delevopment was sacrificed. One might ask how much character development can you get out of one episode (when I brought that up at TWOP, someone replied that I should just go with it because it's TV time, which irritated me), but if you want me to believe that Michael went from being furious and resentful of his brother to completely devoted and loving him enought to go to prison for him, you've got to give me more than "He did it to himself." "He did it for you!" "Oh, so he's in there because of me? Now I love him and believe him and have to save him!!" (which, incidentally, I think was a pretty crappy thing for Veronica to say to him - whether or not Lincoln borrowed the money for Michael, he's not in there because of Michael and that's a pretty low blow to make Michael feel guilty for Lincoln's own fairly bone-headed idea to borrow the money).

    Again, I really liked the Sara storyline and think it added a lot to her character, but she was the only one whose story I thought really had a lot of importance and depth to it. I was curious about the whole C-Note pretending he's in Iraq thing, so that was interesting to get an explination for, but we didn't really need it.

    And Sucre was adorable and I love him and his relationship with Maricruz is very cute, but it was absolutely useless in terms of the overall plot of the show or even the overall character. We know he's in prison for robbing a liquor store, we know he loves Maricruz, we know Hector's a jerk. Did we really need to spend all that time one that?

    Same thing goes for T-Bag, although that at least gives us some idea of what he may be going after once he's outside.

    Of all of them, they easily could have cut Sucre's story and it would have made absolutely no difference to the show overall.