Television Tuesday :: to speak to the strengths of Carmilla a bit more.

14 Jul

Reiterating the ones my drift partner mentioned on Sunday: interactive fanbase, responsive creators, etcetera.  This makes the entire viewing experience very different than watching most shows, where you doubt that the creators are paying attention and if they are they probably won’t react, especially so quickly.

But to get into the media itself.

One, the short-form storytelling is still something I’m getting used to, but I’m adjusted to it a little more with Carmilla than, say, The Lizzie Bennett Diaries, which I never finished and don’t intend to from what I’ve heard about what happened.  Possibly it’s the fact that unlike with LBD, I don’t have a knowledge of the source material for Carmilla (I intend to get on that, but I get the feeling it’s not exactly the same sort of thing) and therefore don’t find the four-minute scene breaks quite as perplexing.  It makes sense to be reporting this story in short bursts as it transpires.  It works.

Two, the story itself being sort of the stuff that queer genre fiction is made of.  Here is a story where the overwhelming majority of characters are at least presumably non-heterosexual, and while characters’ romantic pasts and romantic presents are discussed and acted upon, their orientations are not made a deal of.  The only time that anything of that nature is discussed is Perry reacting to LaFontaine’s being genderqueer, and as that is a present-tense discussion that makes sense.  Never once does anyone say “so, when did you know you were a lesbian/etc.” or make a deal of it at all.  They just… aren’t straight, and that’s how it is.  And then they’re having all of these supernatural adventures and solving mysteries and not being defined by their sexuality/gender/etc. but still having those things a vital part of their character’s identity.  And that’s amazing.

Third, gosh, look at all those lady snuggles.

–your fangirl heroine.



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