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I wrote two fics:
Rio Bravo: My Three Good Companions. This is a post-movie story to showcase the wonderful camaraderie of the three main characters. Rio Bravo is a 1959 Western starring John Wayne, Dean Martin, Ricky Nelson, and Walter Brennan. It's a little formulaic, but it's about the height of that genre. For classic Westerns, it doesn't get much better. I am always amazed at how much gets packed into each frame, how much good acting and directing there is. For example, the first five minutes of the film set up the action for the whole rest of the movie, and does so clearly and brilliantly without using any words at all. The audience simply doesn't need them. (Also, it is one of Wayne's many later films that works to counter racist stereotypes either subtly or blatantly. Wayne's only friend in town outside his deputies is the owner of the hotel, a short cheerful Hispanic man. Carlos shares the duty of comic relief with Walter Brennan, but in the shootout at the end he shows up to provide ammunition and covering fire while the white citizens of town hang back and watch from a distance as if this battle to protect them is merely an afternoon's entertainment.)
Terminator: the Sarah Connor Chronicles: Eudaimonia. I always loved the underlying philosophical questions of SCC, particularly between Ellison and John Henry, and this was a wonderful excuse to explore it, so I jumped on this pinch-hit as soon as I spotted it.
Rio Bravo: My Three Good Companions. This is a post-movie story to showcase the wonderful camaraderie of the three main characters. Rio Bravo is a 1959 Western starring John Wayne, Dean Martin, Ricky Nelson, and Walter Brennan. It's a little formulaic, but it's about the height of that genre. For classic Westerns, it doesn't get much better. I am always amazed at how much gets packed into each frame, how much good acting and directing there is. For example, the first five minutes of the film set up the action for the whole rest of the movie, and does so clearly and brilliantly without using any words at all. The audience simply doesn't need them. (Also, it is one of Wayne's many later films that works to counter racist stereotypes either subtly or blatantly. Wayne's only friend in town outside his deputies is the owner of the hotel, a short cheerful Hispanic man. Carlos shares the duty of comic relief with Walter Brennan, but in the shootout at the end he shows up to provide ammunition and covering fire while the white citizens of town hang back and watch from a distance as if this battle to protect them is merely an afternoon's entertainment.)
Terminator: the Sarah Connor Chronicles: Eudaimonia. I always loved the underlying philosophical questions of SCC, particularly between Ellison and John Henry, and this was a wonderful excuse to explore it, so I jumped on this pinch-hit as soon as I spotted it.
