[ SECRET POST #2465 ]

[case]

⌈ Secret Post #2465 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

01.


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02.
[Twin Peaks]


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03.
[Doonesbury, O Human Star]


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04.
[Two of a Kind]


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05.
[Cleopatra/Elizabeth Taylor]


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06.
[The Final Descent by Rick Yancey]


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07.
[Attack on Titan]


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08.
[Sleepy Hollow]


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09.
[Whitechapel]


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10.
[Outlast]



















Notes:

Secrets Left to Post: 01 pages, 021 secrets from Secret Submission Post #352.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[bringreligiontothewamwams]

When everyone was writing SF/F characters whose every line of dialogue made them sound like Sir Patrick Stewart knock offs performing a speech, or worse cut-rate David Hasselhoffs trying to be 80s-cool, Joss came along and wrote something different. Quickfire, "conversational" dialogue where people wandered from points, got lost, or just bickered at cross purposes. It was fresh'n'new.

These days everyone writes dialogue like that, so it just seems passe and overdone. Worse with AoS where its all been turned up to 11 for some reason. Probably to convince us that these guys are cool or something. Which defeats the point since if you need to convince the audience a character is cool then the character is uncool by definition. Coolness comes from the audience. Or failing that a leather jacket and always standing next to a motorcycle.

[nyxelestia]

I think this could describe Whedon in general. Dialogue, story styles, strong female characters, etc - it was fresh and new when he first did those which is why they stood out, but today they are the norm so his stuff comes off as overdone or underwhelming.