i wonder...

[vanitashaze]

...If "RONON" is related to "RONIN".

Probably not, but still. Kinda cool coincidence, yeah?

Comments

they say California is a recipe for a black hole / I say I've got my best shoes on / I'm ready to go

[ticketsonmyself.livejournal.com]

The second season just ended, and I echo the plaintive shrieking of however many thousands of fans when I say the network had better renew it. The S2 finale blew my mind. Right after I watched it, my friend called me and said the show had already been canceled as of a couple of days before that. I hope her source is wrong, because while the episode was incredibly satisfying on many levels, it wasn't just a cliffhanger, it was like BLOWING UP THE CLIFF and we want to see what's opened up! (As shati, another Sarah Connor Chronicles fan, commented at her journal.) As rachelmanija, an author who works in the TV industry in L.A., posted at her journal: Alas, though not officially announced yet, this seems to be the fate of one of the few shows on TV in which a non-stereotypical woman is the lead. (The reason for that: every network executive who has ever lived loves this question: "Does she have to be a woman?") The first season was a mid-season replacement and had only 13 episodes; the second season had 22 episodes. The last 11 episodes of S2 are available streaming at Fox on Demand (http://www.fox.com/fod/play.php?sh=tscc) (which provides their numbers to the Nielsens) and hulu.com, though it shouldn't be difficult to find the rest on one of your communities, for example.

It's hard to remember now what my original reason was for watching the show—I think I read really promising advance press at coffeeandink's journal before the first episode broadcast—but I kept on returning to it even after I dropped shows I'd started at the same time (Pushing Daisies, How I Met Your Mother). I love the show more than anything else I've seen on network TV (it might be head-to-head with my love for early-season Homicide, but they're different kinds of shows and I didn't start watching Homicide until after it was on DVD anyway). I hadn't thought I'd be the SCC target audience: since I ended up almost totally disillusioned with Firefly and the subsequent movie, the presence of Summer Glau was actually a deterrent (when all I could think of was all the things that grated on me in the writing and portrayal of her character on Firefly) before I started watching SCC. And I liked Terminator 2, with Linda Hamilton's feral, on-the-edge, totally-up-to-Spinal Tap-11 portrayal of Sarah, but I wasn't sure I wanted to sign on for a whole series, though I knew Lena Headey would be taking over the role. The show has rewarded me to the very end of S2 for going with it, and most fans think S2 (especially the later half) is even better than S1.

One of many very fine things about The Sarah Connor Chronicles is something monanotlisa noted on women's roles:

They have any number of traits, good and bad ones - action-hero traits too - but what sets them apart from dozens and dozens of other women especially in genre tv is that they are the driving force of this show: Their decisions and their actions set everything in motion. ...

The women are the ones that keep this world spinning. And I love that.

S2 in particular amps up the important speaking roles for women by a lot; from week to week, most weeks, there's a new female character or set of female characters, a few of whom stay on as important recurring characters, and all of whom have speaking roles more important than that of any new male character in the same episode. (And in my opinion at least, all the recurring female characters become pretty awesome.) During the first season, vee_fic wrote about another facet of how this plays out:

One of the things I find fascinating about The Sarah Connor Chronicles, that appears to be totally accidental, is the commonality of the reverse-Bechdel scene.

You know the Bechdel Test, right? Two women onscreen at the same time, talking to each other about something other than men. (More or less.) [SCC keeps] doing these scenes where two men are standing around onscreen, talking to each other (in a plot way, not a sexual way) about a woman. [T]hese conversations are necessary for the story to advance.

But the converse, conversations among men about men, are rare and rarely necessary. ...