ivyfic: (Default)
So, Traitors.

My entire household has had COVID this last week, so I have started watching Traitors UK. (OMG illness is so much worse when it’s three people including a baby instead of just me. Now I get to feel guilty when I need to just lie down in addition to feeling crummy since my wife also feels crummy and somebody has to care for the baby who feels crummy.)

Traitors started in the UK and was adapted for the US. (There are also Australian and New Zealand versions I haven’t watched. Yet.) I’ve now watched the first season of Traitors UK and started the second. It’s filmed in the same castle and has (almost) the same challenges as US. But it’s a very different show.
- The host in the UK is Claudia Winkleman. If you’ve watched any British panel shows, you’ve seen Claudia Winkleman. She’s a television presenter and has hosted Strictly Come Dancing for the last decade and a half. She also makes appearances on everything else—Would I Lie to You, Big Fat Quiz of the Year, Taskmaster. Alan Cumming as host is camping it up all over everything. Claudia Winkleman is arguably a kind of camp figure—she’s got that eyeliner and those bangs and on the panel shows she’s not so much making jokes as being a joke—but she’s presenting with deadly sincerity. The whole vibe is: “It’s not me you’ve let down—it’s yourselves.”
- The UK version is all regular people, as opposed to US which was half regular joes half reality stars first season and all reality stars second season.
- Some of the challenges are different. The UK version had a sheep herding challenge. Can’t imagine why they didn’t do that in the US version.

The difference in tone is there from the start. In the first episode of Traitors UK (spoiler), the first thing Winkleman does is ask everyone to line themselves up from most likely to win to least likely to win. Two guys being chivalrous put themselves at the bottom. She then says to them, since you don’t think you can win, I’ll take you at your word. You can leave. This immediately puts an enormous pall over all the other players. This is a game you can fuck up without even realizing the stakes.

Having it be all regular people also makes it very different in feel. I was talking about reality show genres in the last post, but regardless of genre, people who’ve been on reality shows before have some understanding of what the stresses of shooting a reality show are and how they handle themselves under pressure. Not at all so for the regular people. The regular people start coming apart at the seams. There’s a panic attack. There are screaming matches. ExpandSpoiler for Traitors UK season 1 ) Worth it to point out that all the contestants in Traitors UK season 1 have publicly said they’re friends after the show. They have a group chat. (Except for one player who physically assaulted a waiter (after the show). No one talks to him.) Watching the show, you would not think that.

There’s also the fact that there’s an element of economic coercion when you’re talking about regular people. Yes, reality stars also want the money and also have a reason to have it, but they’re in the entertainment business first and foremost. For these contestants, the reason they are participating is often because they have no other way to get enough money to pay for their wedding, or their retirement, or in one case, to pay for a prosthetic arm. (I expect this reason in the US. NHS—do better.) Which of course makes the whole genre feel worse.

(As a total aside, I’ve noticed that British TV is way way more likely to foreground people with disabilities. Both seasons of Traitors UK have multiple contestants with visible disabilities. It’s not just this show, though. One of the comedians that makes the rounds of panel shows and is on the current season of Taskmaster is Rosie Jones, who has cerebral palsy. She is hilarious, and her comedy is neither all about her disability or portrayed with the “inspiring story” framing she’d get in the US. I honestly can’t think of anyone like Rosie Jones that’s successful on that level in the US.)

One of my takeaways is—no one can tell when other people are lying. The more certain they are that they can read people, the more wrong they are. And there are people whose jobs are reading people, who’ve joined the show because they have confidence in their abilities. A magician who does cold reads. A member of law enforcement. A retired schoolteacher. Someone who is hard of hearing who says that’s given her a lot of experience reading body language.

All of them all of them completely crap at identifying liars.

This is a show where there is an objective truth that the viewers know. There are traitors, they are lying, you can watch them lie. But what people are identifying as indicators of lying are vibes. Exhibitions of stress (which—they’re all stressed, not just the traitors). Any kind of difference at all. The previously mentioned black trans woman incident. But any difference. Extroverts point out the introverts. Introverts point out the extroverts. People handling the stress badly point to people handling it well. People handling it well point to people handling it badly. And the biggest “indicator”—I just don’t like that person.

People start positing their theories of how you can tell: Someone has to be accused at the roundtable, then you can tell by how they react whether they’re telling the truth. One person said, well, I’m a faithful, and I know how I reacted, so I know if you didn’t react like that, you’re not a faithful. And—no! People react to stress differently! Some people fight back, some people cry, some people panic, some people shut down.

Really, this is an excellent demonstration of why confessions to the police are completely unreliable.

Ultimately, people decide who must be faithful based on who they like the most. And maybe in the real world, there’s reason to believe your friends wouldn’t betray you because they’re good people. But this is a game where the structure requires certain people to play as traitors. That doesn’t make them bad or shady people. That makes them game players. So I don’t know why people would expect the friends they’ve made in the game to be loyal to them when their role as traitor was chosen before they became friends. But every season, they do.

When I first started watching, I thought the physical challenges were wastes of time—I didn’t understand the point. They’re ostensibly to build the prize pot for the end of the game, but when you’ve split the people up into teams, they’re not competing for anything (until the shield mechanic in season 2). After watching a few seasons, the physical challenges are essential to the game functioning. I watched a BBC interview with the final five of season 1 of Traitors UK in which Claudia Winkleman says that the physical challenges are there as a mental health break. To get them out of the castle and doing something other than be paranoid at each other all day. It’s that, but it’s also trauma bonding. In the front half of the season, people often get targeted for elimination for not being team players. Usually by the end of the season, the challenges are people all working as one team, cheering each other on. It’s emotional whiplash, to go from one team, one goal, to voting each other off the show.

In season one of Traitors UK, there’s a moment in one of the final episodes where everyone is in the same room, talking about how much they hate the traitors and how much they want to make sure a traitor doesn’t get the money. And someone goes—you know what’s funny? We talk about them as if they aren’t here. But they are.

Much more in the UK seasons than in the US, there’s this identification of all the stress and difficulty everyone is going through with the traitors as the cause—I can’t have suffered all this for a traitor to win. Which means that when they’re sure someone’s a traitor, it justifies any rhetoric against them. And of course, over and over, as stated above, people are incredibly wrong about who the traitors are.

What keeps me coming back is that the game is so unpredictable. Even with the same format and same challenges, every season has played out completely differently because whether a strategy works or not depends entirely on the other players. The final fire has been a total shocker every season I’ve watched, not just in terms of what happened but in how everyone felt about it.

I expect I’ll have more thoughts as I inevitably watch the Australian and NZ versions.
ivyfic: (Default)
I finished watching Obi-Wan this weekend as well as watching Dr. Strange in the Multi-verse of Madness. As Disney is pursuing a similar strategy with both of these properties—that is, spinning out as many movies and TV shows as they can—I was thinking about why I think that largely works for the MCU and largely doesn’t for Star Wars. (I say as a fan of both.)

The MCU is built off of comics canon. This has a long history with dozens (hundreds) of characters with their own titles, each main characters in their own right, who then crossover with each other in various ways. It also has a long history of doing whatever it wants with its own continuity, including throwing it out every decade or so or just ignoring story beats that weren’t popular.

Applied to the MCU, this means that each franchise has its own genre. The fact that different of the movies introduce world building elements that should really affect the other ones doesn’t matter. You can have something like the Eternals and their existence didn’t impact the Thanos narrative because Eternals stays in their own sandbox until they decide that they don’t. Yes, there are some handwaved internal justifications, but to me as a viewer, those aren’t even the point. I can enjoy Ms. Marvel, Moon Knight, Loki, Black Widow, and Dr. Strange all at the same time without worrying too much about what the existence of all the other ones means for each separate property.

In other words, the MCU works on comic book rules. Continuity matters when they decide it matters and the rest of the time, why worry about it.

Star Wars on the other hand started as the singular vision of an iconoclast, and grew through the 9 main movies into an intergenerational saga about one family. There are a limited number of main characters—to create more, they take side characters and peel them off into stand alones. And it has a singular continuity that has only been overwritten once, when they decanonized the Expanded Universe.

From the beginning Star Wars canon has functioned differently than other fictional worlds because every work authorized by Lucasfilm that contained Star Wars characters was canon, and in the era of the Expanded Universe, authors often had to rewrite stories to contain elements from other of the books and comics (what leaps to mind is the Dark Empire comics which ravaged Coruscant—which then had to be ravaged in all other works taking place after them).

This meant that each work could have a permanent, negative impact on the whole canonical universe. Which means that every thing a person doesn’t like as a fan is the subject of rage, because now it’s stuck there and you have to live with it forever. (Lightsaber blades shatter on lava monsters? F*** you Kevin J. Anderson!) This also meant that every now and then Timothy Zahn had to wade in with a book that fixed the massive contradictions in characterization and power levels between authors. Zahn once told me at a con he'd been awarded a Golden Spackle award for this by fans.

Even after the removal of Expanded Universe from canon, Disney’s efforts are hampered by the organizing structure of the Star Wars universe being the Skywalker Saga. New stories have to be shoved into the silent spaces in that saga in ways that undermine the story's own beats—which is how I feel about Obi-Wan. Loved seeing Ewan McGregor as Obi-Wan, but there is an impossibility of creating a satisfying end to an interstitial series when you have to keep all the pieces on the board for the story ten years later.

(I have a side rant about how they brilliantly dodged this with Mandalorian by creating a character that was basically the Boba Fett of the Expanded Universe but *wasn’t* Boba Fett so they could do whatever they wanted with him, but anyway.)

Long way to say—I think that Disney can probably keep spinning out Marvel content as long as they have good creatives at the wheel because the nature of the source material leads to a flexible relationship with canonicity.

But Star Wars is restricted to coloring within pre-existing lines, and the more series and movies they put out there the more they constrain what they can do in the future. I think they’re going to hit a wall with Star Wars much more quickly.

(All of this is of course about quality of the content. They’ll keep doing what they do as long as they make money of course, which may be a long, long time after the quality drops off.)

[Do not repost this anywhere.]
ivyfic: (sga geneva)
I’ve been watching the final season of Stargate Atlantis (it just came out on DVD). It has not been sucking as much as I’d expected. I’d even rate it higher than season four. Since the last episode I watched while it aired was “Whispers” (still one of the most offensive, badly written hours of television I have ever seen) I did not have high hopes.

“The Queen” was kind of fun, and I liked Teyla’s makeup. The plot had no more holes than I’ve come to expect from this show, which is to say a ton.

“Tracker”--Keller, blah, blah, I think I was doing a crossword while watching this one. At least they finally acknowledged they have a love triangle, rather than ignoring Ronon completely. Even if I do find it asinine.

I loved the Daniel episodes, I have to say. ExpandFirst Contact/The Lost Tribe ) But Daniel and McKay are fantastic together, with Daniel’s whole hohum, another kidnapping, more threats, *sigh* attitude he perfected in the late seasons of SG1. I felt sorry for the cancelation of the series for the first time when, on the commentary, one of the producers said they were planning to bring Daniel in full-time next season. True, it wouldn’t really be SGA anymore, but it hasn’t been for a while, and I like Daniel.

“The Outsiders” has Expandone of the best lines in SGA history )

Then I came to “Inquisition.” ExpandOh, what an ironic show )

Now I am watching “Remnants,” and the only thing I can pay attention to is that JFlan’s sideburns are seriously going gray.
ivyfic: (Default)
I don't read a whole lot of fannish meta, but this is a very interesting post about transactional friendships as they apply to pay-for-access conventions written by a former dominatrix, who has a certain perspective on interacting with people who pay for your company.

Most of you know I don't like to interact with celebrities, and in particular in this sort of a setting, but this post articulates very clearly what the cause of my unease is, as well as the benefits for both the celebrity and the fan when handled correctly.
ivyfic: (heroes petrellis)
A bit of Heroes meta that's been percolating for a while. Spoilers for all of season one.

ExpandA case for Nathan's fidelity )
ivyfic: (supernatural wwn)
Supernatural! You have redeemed my faith in you! *mwah*

ExpandFolsom Prison Blues drive-by squee )

Cannot wait till next week! Preview looks so good. Bring on the angst!
ivyfic: (Default)
This is being linked all over the place, but I'd like to point people to [livejournal.com profile] witchqueen's fantastic post of last year on advice to white people in fandom. Think of it as like minotaur's advice to women on how to write gay sex, except for white people writing characters of color. It also has solid advice on how to deal with an accusation of racism without digging the hole deeper.
ivyfic: (supernatural dean)
Well, I promised I'd do a thinky post on "Houses of the Holy," so here ya go. Caveat lector: it's hard to talk about religion in a show without talking about, you know, religion, so be forewarned.

ExpandLife the Universe and Everything )
ivyfic: (supernatural dean)
I have saved up all my Supernatural meta for one big post, so here you go. Warning for abuse of italics.

ExpandBig Supernatural Theory #1: The Demon )

ExpandBig Supernatural Theory #2: Spoilers through Night Shifter )
ivyfic: (lex)
I can think of only one person who will read this (I'm looking at you, [livejournal.com profile] trinityvixen) but it needs to be said.

ExpandThoughts on Lexmas )

Season 1 Smallville icon! *sigh*
ivyfic: (Default)
Happy New Year, y'all! Instead of doing a real meme, I'm making up my own.

Year in Review
ExpandNew fandoms in 2006 )

ExpandNew things in fannish life in 2006 )

ExpandFannish resolutions for 2007 )

And that's all the navel-gazing I can handle at a time.
ivyfic: (Default)
[livejournal.com profile] trakkie leant me her Supernatural DVDs. Yes, that's another one sucked in. Good show, genuinely creepy, but having heard about the fandom, I resolved to watch it with a gen only set of mind. They don't make it easy.

I'm trying so very, very hard not to see the slash. I really really am. But aside from the fact that the show is about two pretty men living in each other's backpockets, driving around the country, sharing hotel rooms and staring at each other in towels, there are moments that in any other show would make my little slasher heart jump for joy.

ExpandCut for non-plot specific spoilers )

I'm going to go scrub my brain now and pretend that I'm watching a normal show like a normal viewer. Subtext? What subtext?
ivyfic: (constantine)
I wrote another 2,500 words of Constantine fic last night. This makes [livejournal.com profile] trinityvixen's holiday fic well over 7,000, and that's not counting all the stuff I've deleted and rewritten. This is getting out of hand.

(Seriously, do you ever find yourself writing and Chas is just whining and whining and you want to smack him and make him shut up? OK, maybe that's just me.)

I looked through my fanfic files and found that I have eight Constantine stories. Four that have been posted, the one I'm working on now, the 1character challenge fic, then two that have been put on indefinite hiatus. I reread them and found that I liked them, they were good, but they'd need a hell of a lot of heavy plot-lifting to get to were I could post them. I mean, I could see this one that's already nine pages just spinning out to eighty or a hundred or so and I'm just not ready for that level of commitment. I think I need magic elves to come write my stories for me in my sleep.

ETA: And then I stop and think - the Constantine fandom's pretty much dead. And none of these stories are slash. Which means even if I did write a hundred pages only about five people would read it. And then I sigh in defeat and try and remind myself I do this for the love of writing and not for worldly adulation - but really, that's a close one.

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