//I figured even if they did discover Sumner`s proper name, then I think the poetic theme of the Summer ending, the Great Harvest/Culling starting... I think it`s appropriate to misspell Sumner`s name to make him a sort of broader embodiment of a metaphor.
Hm. And now I wonder if that`s what Martin Gero and the other writers were aiming for.//
I'd want to believe so... but the more the show goes on, the more I become convinced that it only taps into great archetypes by accident (or possibly by the actors' work).
//I just really felt that the powerful, strong climax needed a soft, mourning denument (sp?) before we came back with the triumphant chorus of the survivors and the dead.//
Well, it does... it's just that this is Sora's opera written for the consumption of Pegasus natives, and thus there was never any chance that it would not be given to Teyla.
(I chose the first line "We will remember you" in order to evoke Sarah McLachlan's "I Will Remember You (http://www.sarahmclachlan.com/discography/lyrics.jsp?song_id=780)" [don't ask why the OFFICIAL SITE can't spell "lose" -- just don't], which I first encountered in a Fushigi Yuugi music vid (http://www.animemusicvideos.org/members/members_videoinfo.php?v=3644) that blew me away [even if Hsien Lee's disavowing it now], although I was also picturing it with elements of the chorus of her "I Will Not Forget You," Oomori Kinuko's "Wasurenaide (http://www.animelyrics.com/anime/bgc/bgcfrget.htm)," Les Miserables' "Empty Chairs at Empty Tables," and Carole King's "Now and Forever." Which probably tells you more about my mind than you really wanted to know.)
See, the John-and-Rodney Show is fun, the John-and-Rodney Show is distracting, the John-and-Rodney Show has inspired many many good fics and vids and will doubtless inspire many more, and I expect Sora thoroughly enjoyed dragging it in for a B-plot (I know I did)... ^_^
... but, to get embarrassingly meta here for a while, the impact of the first season's worth of Atlantis and the reports of its destruction on the Pegasus Galaxy would almost have to be something on the order of "Humans came from the lost homeworld of the Ancestors and woke their City, and for a brief moment some of us believed with them that the Wraith could be defeated. Of course it was not so, and of course they went down in flames..." and SCR is saying "... but that's no reason not to try. Maybe you know you're licked before you even begin (or maybe not, if you're from the Mother-earth), but you begin anyway and you see it through. No matter what. And who knows; you might even make a difference." There's a reason Hoff is sitting anachronistically in the middle of Act II, and I put it there before I consciously realized that it was doing the same thing as Chapter Ten of To Kill a Mockingbird. (At least I think it was Chapter Ten; it's been more years than I care to remember since we were analyzing the Saga of the Rabid Dog as Synecdoche.)
//(I mean, who does the Scottish Play with no RED for god`s sake?)//
Gah. I can see that they might have been trying for depressing, but it seems as if it would only achieve boring. I saw a version of Midsummer Night's Dream where Athens was very monochromatically '20s-New-York, but that was so that the fairies would be an explosion of color a la Munchkinland. (I don't suppose you saw the version of The Adventures of Pericles that the Stratford Festival did a few years back? That and last year's London Assurance were thoroughly rife with color and design and everything.)
Re: I LOVE YOU SO VERY, VERY MUCH.
Hm. And now I wonder if that`s what Martin Gero and the other writers were aiming for.//
I'd want to believe so... but the more the show goes on, the more I become convinced that it only taps into great archetypes by accident (or possibly by the actors' work).
//I just really felt that the powerful, strong climax needed a soft, mourning denument (sp?) before we came back with the triumphant chorus of the survivors and the dead.//
Well, it does... it's just that this is Sora's opera written for the consumption of Pegasus natives, and thus there was never any chance that it would not be given to Teyla.
(I chose the first line "We will remember you" in order to evoke Sarah McLachlan's "I Will Remember You (http://www.sarahmclachlan.com/discography/lyrics.jsp?song_id=780)" [don't ask why the OFFICIAL SITE can't spell "lose" -- just don't], which I first encountered in a Fushigi Yuugi music vid (http://www.animemusicvideos.org/members/members_videoinfo.php?v=3644) that blew me away [even if Hsien Lee's disavowing it now], although I was also picturing it with elements of the chorus of her "I Will Not Forget You," Oomori Kinuko's "Wasurenaide (http://www.animelyrics.com/anime/bgc/bgcfrget.htm)," Les Miserables' "Empty Chairs at Empty Tables," and Carole King's "Now and Forever." Which probably tells you more about my mind than you really wanted to know.)
See, the John-and-Rodney Show is fun, the John-and-Rodney Show is distracting, the John-and-Rodney Show has inspired many many good fics and vids and will doubtless inspire many more, and I expect Sora thoroughly enjoyed dragging it in for a B-plot (I know I did)... ^_^
... but, to get embarrassingly meta here for a while, the impact of the first season's worth of Atlantis and the reports of its destruction on the Pegasus Galaxy would almost have to be something on the order of "Humans came from the lost homeworld of the Ancestors and woke their City, and for a brief moment some of us believed with them that the Wraith could be defeated. Of course it was not so, and of course they went down in flames..." and SCR is saying "... but that's no reason not to try. Maybe you know you're licked before you even begin (or maybe not, if you're from the Mother-earth), but you begin anyway and you see it through. No matter what. And who knows; you might even make a difference." There's a reason Hoff is sitting anachronistically in the middle of Act II, and I put it there before I consciously realized that it was doing the same thing as Chapter Ten of To Kill a Mockingbird. (At least I think it was Chapter Ten; it's been more years than I care to remember since we were analyzing the Saga of the Rabid Dog as Synecdoche.)
//(I mean, who does the Scottish Play with no RED for god`s sake?)//
Gah. I can see that they might have been trying for depressing, but it seems as if it would only achieve boring. I saw a version of Midsummer Night's Dream where Athens was very monochromatically '20s-New-York, but that was so that the fairies would be an explosion of color a la Munchkinland. (I don't suppose you saw the version of The Adventures of Pericles that the Stratford Festival did a few years back? That and last year's London Assurance were thoroughly rife with color and design and everything.)
Thank you for the breath of fresh air. ^_^