Wednesday, February 24, 2010

If you're Lost, you need a lighthouse.... ZING!

While shoveling tonight I felt like Desmond in the hatch. Meticulously I shoveled small areas of my driveway. Bit by heavy bit I got rid of the snow that had been piling up for half the day. Yet even as I cleared one patch, an older patch became covered in the continuously amassing white mass. The whole thing was depressing, like a clock that keeps flipping back to 108 minutes…
But that’s neither here nor there, since Desmond, his magical button and snow are absent from this episode. Instead, LIGHTHOUSE offers us a whole bunch of crazy, Jack’s sideways offspring and Hurley continuing to play leader.

In terms of mythology this episode was merely transitional work towards something else. Claire’s setup established that she’s crazy and Jack’s reflection revealed his larger purpose. We’ll get to all of that later, but for now I want to talk about a pitiful excuse for a flashsideways.
In Jack’s flashsideways he is alone, except he does have an offspring. Christian is still dead and a bad dad. Claire is still probably his half-sister. After all of that, what are we supposed to take away from the flashsideways?
For starters, it appears that Jack is not the same fixer as he is on the island. Here he accepts that there’s “nothing we can do,” in one instance, whereas island Jack would pound Charlie or Sayid’s chest until they either came back to life or became a zombie. We’re not sure why this version of Jack is so relaxed, or for that matter how he was able to slip one past the goalie and father a child with a not present ex. This version of Jack, though, is able to break the cycle of bad parenting, as he reaches out to his son and they connect.
I found this whole dynamic very contrived and not well established. Oh, little David wears his ear buds instead of listening to me! Walt was out killing birds and becoming a ghost. I think you’re a better father Jack. Oh no, you’re not best buds. Get over yourself. You turned out fine and you’re dad told you “you haven’t got what it takes (or something like that).”
Ultimately, this was just a transitional piece establishing the kind of guy that sideways Jack is. He can change. He’s flexible. He’s got a scar on his stomach from an appendectomy that Juliet did on the island. Wait, a second, one of those things isn’t like the other…
It appears that flashsideways Jack doesn’t have a good grasp on his whole life. He doesn’t remember when he got his appendix taken out (season four on the island)? He looked at his scar with the same kind of déjà vu that we’ve seen in Desmond’s flash from season three, which I maintain is the same vein as what we’re seeing now. There’s got to be some payoff here, especially since it is not separate from the island story. We’ve had flashbacks that impacted our characters. We’ve had flashsideways that were the product of our island stories. And now we have flashsideways that can’t just be isolated events. They’re not parallel or alternate realities.
Speaking of which, does Sensei’s appearance at the concert mean he isn’t a thousand years old on the island either? Does Dogen know who sideways Jack is? Why did he say his “son has a gift?” Was he just being nice?
My only other takeaways from this story was that I loved David’s tie. That’s the same color tie I wanted for Christmas and it’s the tie I actually tried to steal from my dad this morning before ripping the thing on the back that snags the other end (shhhh. Jim hasn’t seen that yet). Also, this David is not a real baseball fan. Jack says the kid likes the Red Sox, but he’s wearing a Dodgers hat in a picture. Plus, the Shepards are traditionally winners, so they should like the Yankees. This flashsideways is trippy, like a bad night of drinking. A bad night that Jack apparentlty hasn’t had in a while, since it seems like this Jack has overcome his drinking problems. But I think that plays into him breaking this cycle his dad started. Did you notice the expensive liquor?
Let’s go back to the island, where nothing actually happened. We uncovered a few fun nuggets, but this part was pretty pointless. I will concede this, though, that Hurley was amazing in this episode.
So Claire is nuts. No way around that. She’s got an infection all right, and it’s syphilis that drove her crazy. I’ll assume she had sex with Mac/Aldo’s corpse or the Man in Locke banged her and that’s how she got it. Mix a little Dharma beer and a thirty year old Dharma condom and that’s a recipe for spreading disease.
I didn’t think Claire could survive on her own, especially the way she sterilized the instruments she used. I think we all remember what an idiot Claire was in the first four seasons.
The only thing of note from Claire’s ridiculous scenes was the introduction of her “friend,” who turns out to be MiL. This merely raised questions for me, like when did they become friends? What happened to the ghost of Christian that was guiding her? I think that answer is sort of the same, since to me, both Christian and MiL are versions of the ghost monster/Man in Black. I think this nutter has been showing private nutso the ropes for three years. I don’t really want to speculate more, yet, except that to say that her backstory will be fascinating.
When was Claire infected, if she was infected? Before the others kidnapped her, like when she decided to go with Christian? Do you not need to die and go in murky water to get infected?
I did enjoy the zen version of Kate, who calmly brushes off Jacks’ invitation. When she says, “I hope you find what you’re looking for,” to Jack, I did a double take. Normally she’s like Jack-lite, sticking her nose in where it doesn’t belong or joining any posse that seems to be heading for trouble. Not this Kate.
I also liked shades of Jack during this episode, which had him in WTF mode for most of the episode until the end. He was very revealing to Hurley, in a way that was sharply contrasted by his tight lipped persona during the first five seasons. Traditionally he keeps everything bottled up until he can yell, but now it just sort of rambles out. Sure, I blew things with Kate. Yeah, I’d be a terrible dad.
I think this all stems from what he now views as the futility of his life, and this mission more specifically. He came to the island to escape the troubled feelings in the real world. “[He] came back here because [he] was broken, and [he] was stupid enough to think this place could fix [him] (Imagine it in first person, and it’s really good).”
He still feels mixed up inside, and I think he feels that salvation will forever be denied. I think it’s coming, though, and he just needs to fulfill his purpose. His purpose stemming from the fact that he is a candidate, one of three hundred sixty if you’re into degrees.
Speaking of the gears, does the Jacob have a thing for turning them? One will operate a lighthouse and one operates an escape hatch of sorts. Does another one get you espresso?
The mirrors were interesting, and I liked the idea that it actually could lead someone there. I’m not sure if that’s how it actually worked, since Jacob danced around the issue when talking to Hurley. The mirrors themselves seemed like more of an introspective tool than anything relating to a lighthouse. It’s also possible it was a way for Jacob to look out at the lives of his candidates, but that seems farfetched for someone who appears to be a supernatural being to some degree.
Let’s assume that the lighthouse was signaling someone, then who was it? Widmore? Desmond? The sideways castaways?????? Those are the only three guesses I have, and I’m leaning toward Desmond. Widmore appears to have speculated correctly about the upcoming battle, which originally seemed like it would be between him and Ben, but it never seemed like he planned on coming back to the island. It could be the sideways castaways, but Jacob implied a singular person (not that I trust him all that much). So I think it’s Desmond.
Finally, I’d like to give a nod of congratulations to Hugo in this episode. He was great. I’ve never liked Hurley, in fact I’ve disliked/hated him. Never found him charming, resented the fact he couldn’t lose weight and thought he should have died (Can’t fault him for going after Libby, even if the implausibility of it all drove me crazy).
Here are Hurley’s highlights in the episode:
• “I’m a big fan of temples, and history. Indiana Jones stuff.”
• “I’m a candidate and I can do what I want.”
• “You made me write too much stuff, and I just lied to a samurai.”
Great, right?!??!?!
So that’s my LOST reaction and contemplative thoughts in the aftermath of the third episode. It wasn’t great, or really that good, but it wasn’t bad. We got a little tease, but generally some unsatisfying payoffs (especially by just abandoning the lighthouse).
I’m not sure I like the gradual escalation that has been mounting this season. A big payoff is insanely hard to pull off, because you have to wrap up all your loose ends at once. I’d like to kill off some characters and finish some threads early on, before we have the battle of epic proportions. This needs to be done like The Wire, which almost took glee in killing off characters during its final season. There was still a big finale, but it was more manageable that way.
I know, I know, I shouldn’t doubt the LOST writers. And I won’t. I’m confident it will be great. I hope it will be great. I will lose my s@*t if it isn’t perfect.
Your thoughts on the episode and this season????

Tuesday, February 23, 2010

More Lumby Categories

In the vein of a slow reveal, we're giving you avid readers two more categories from the upcoming LUMBY awards!

Best Movie I Didn't See:
The Fantastic Mr. Fox-I love vintage Wes Anderson, and based on the trailer it sounded like the good old days. Add in Clooney and animals acting like people, well I'm sold. Not to the point where I wanted to pay to see it though...
Where the Wild Things Are-Looked cool.
A Single Man-Seems artsy. Colin Firth is a good actor when he's not playing the affable love interest.
UP-I always like Pixar movies when i see them eventually. I'll tell you if that's true in 2012 when i get around to this one.
EXAM - Not even sure this was released in America during 2009, but it looks super cool. Takes place in one room and it blew my mind in an extended trailer.


WORST MOVIE (May HAVE REFUSED TO ACTUALLY SEE IT)
(Editor's Note: This category was created to destroy the movie Blind Side. Oh yeah, spoiler alert)
The Blind Side: I'm sorry, but this movie looks ridiculous. I just want to scream.
Up - Eventually Pixar is going to make a stinker.
Where the Wild Things Are - If I wanted to look at something that was visually stunning i would watch a lot of porn. Fake tits are my art. I don't want to look at them, just admire them.
Harry Potter #6 - Boy this movie was terrible. I put aside the fact I love the books, and tried to enjoy it as cinema. Hated it. Boring. Emotionally numb. Just bad. We could have a competitor.
Bride Wars/The Soloist/Public Enemies/The Ugly Truth: These movies made me genuinely mad. I may add more to this one.

Acura Attorney

(Editor's Note: WE apologize for Dave's terrible titles. He likes puns, but unfortunately he stinks at writing them. Part of this stems from the fact he doesn't really get what a pun is. The other problem is that he's stupid. All in all it would probably be best if you just ignored him. He does understand alliteration. Not relevant, except as an ego building exercise for our awful artist)

I was given/lent another Michael Connelly book, which motivated me to write about another one his book's that I recently read before it faded further from my memory.
The book we're reviewing today is Michael Connelly's, THE LINCOLN LAWYER. This book introduces a recurring character named Mickey Haller, who is referred to as the "Lincoln Lawyer" because of his mode of transportation, which is the train that carried Abe Lincoln's corpse (kidding. It's the town car).
The book does a great job introducing this morally neutral character. He's not a bad guy, so much as any lawyer isn't bad, but he does push the limits of legality. He doesn't exactly break the law, yet has no qualms about exploiting the law. It's not like he's doing anything terrible, though, as he merely reduces sentences or delays the inevitable.
Anyway, this book is enjoyable in the Connelly way. That means the dialogue is extremely digestable, the characters are complex without bogging you down and the story progresses in a relatively accessible and believable manner.
The main story is a rich killer that Haller has to defend, with the oddity of being one of his rare clients that appears "innocent." This facade evaporates quickly as it appears that things might be more complicated than they first appeared.
The book is quite thrilling, keeping me up late at night until I finally killed the book around 2 in the morning. The ending is a little bit of a let down, but only if you expect the unexpected. Connelly doesn't really give you reason to demand some ridiculous ending, and in fact I'm content with the whole experience.
Nothing else I really want to say, except that i'm going to keep reading Connelly and his Haller series.

Saturday, February 20, 2010

Schooled by Carey Mulligan

I have always been smitten with a strong female lead, whether it’s in a movie or on television. Maybe that’s too broad of a statement, since I’m strongly turned off by Evangeline Lilly (Kate) on Lost and half of the characters that Meryl Streep plays. That’s not to say I have a very narrow type, as in recent years I’ve fallen for Kristen Stewart in Adventureland and Elizabeth Mitchell (Juliet) on Lost.
(Editor’s Note: This trend has manifested itself in Dave’s real, albeit pathetic love life. He is attracted to strong women in various forms, although you wouldn’t know it since he is also scared away by these women. It’s a devastating circle he’s trapped in. As his editor I would suggest that he starts courtin prostitutes or girls that are a little slow)
The trick about playing a likable female lead is the precarious balances they need to maintain. There is a tightrope of a walk between aggressive leader and bitchy or emotional wreck and sentimental. This could stem from a double standard, and I’d agree to that assertion to a certain extent.
I think the bigger problem is the product of poorly created characters that aren’t written well enough. Great actresses can overcome this, like Julia Roberts in her prime or Lauren Graham during the last season of Gilmore Girls, but most women fall victim to stereotypes.
One shouldn’t discount the strong presence of personality, though, which explains why I almost always like Zooey Deschanel (except when she’s breaking Joseph Gordon-Levitt’s heart) or Kristen Stewart. Sometimes a person’s real person a shines so bright that a bad setup can’t quell their natural likeability. The converse of this would be Katherine Heigel or Jennifer Aniston, who bomb in roles that aren’t perfectly tailored to their narrow skill sets.
What does all this have to do with anything? Well, tonight I saw the movie An Education, which is primarily built on the back of newcomer Carey Mulligan.
An Education is set in England during 1961, before the Beatles were big and England was a depressing island for teenage girls. Mulligan plays Jenny, who is bright, talented and cute, and by all traditional metrics seems to have the world by the balls.
Her father (Alfred Molina) is encouraging her to build up a resume with extracurricular activities so she can make herself more attractive to the Oxford recruiters. Molina is hilarious in this role, which seems very familiar to the overbearing parents that have become the norm during the college application process. Cara Seymour is equally appealing as Jenny’s mum. The pair of parents love their daughter and support her, so long as she studies her Latin and can eventually support herself with a man or a college education.
Jenny eventually catches the eye of David (Peter Sarsgaard), and the 30ish playboy strikes up a strange relationship with the soon to be 17-year-old. Their relationship is built on the fact that she’s an old soul, with refined tastes and the fact that he offers her a world that she would have to otherwise wait to experience. David woos Jenny’s parents and it’s not long before they’ve joined another couple (Dominic Cooper and Roasmund Pike) on splendid double dates that wow the wide eyed young girl.
Throughout this transformative experience Jenny is balancing her two lives, although a clear transition is occurring that shifts her focus away from school. The whole experience is hard for her to quantify, except in giddy retellings to her friends that lack the real confliction that mars her experiences, as she isn’t really old enough to digest what’s happening.
She finds her footing as David’s significant other, falling into step with the pace and demands of the world she wants to participate in. Ultimately, though, this life begins to spin out of control and Jenny can’t straddle her two lives anymore, and needs to choose one of them. A small twist ensues and then some convenient turn of events before Mulligan’s voiceover ends the movie.
Before I laud Mulligan with praises let me comment on the movie, which is layered with a plethora of excellent performances. Molina and Seymour are great as Jenny’s parents. They never become two-dimensional figures that exist solely as foils to Jenny’s life, but rather give and take like real parents.
Emma Thompson is pitch perfect as the school master in just three scenes. Sally Hawkins packs a punch in less than two minutes on screen. If Pike was really acting like an airhead, and she’s not in fact a moron, she was great. Cooper shows a breadth of range I knew he had from History Boys, but assumed he had forgotten during Mama Mia.
Olivia Williams, who plays Jenny’s teacher Miss Stubbs, captures a complicated character in just a look, finally exploding on scene with a vigor and strength of more notable actresses when given a taste of dialogue. Like Pike’s character, Williams offers one of two routes Jenny is contemplating for her life. Her exasperated glances and restrained oratory was eerily reminiscent of some of my better and more browbeaten teachers in my life.
As for Sarsgaard, I think I’m happy with his performance. He’s a flawed antagonist to be sure, and while I’m not sure he plays charming very well, I don’t think he needs to. It’s obvious to the audience that David is a scumbag, but we have the benefit of not being the teenager that Jenny is. In that regard, it seems like Sarsgaard does a good job crafting a character that can be perceived radically different depending on the light. He can look like an obvious cautionary tale to certain people, a promising suitor or a doorway to something new and exciting. The only downside is the dour expressions he strikes throughout the movie, and the fact that he constantly gives me the willies (but then again I’m not a teenage girl).
In the end the movie soars on the performance of Carey Mulligan. Mulligan was 23 or 24 in this movie, which probably makes it possible for her to grasp the maturity she demonstrates as Jenny. Her real life age makes it easier for her to stand out from her peers, in terms of physical maturity and the look of an old soul, which is complimented by her general refinement that comes from her love of books and affinity for all things French.
Mulligan is cute, and becomes more appealing as you explore the depth of her face. Yet, while attractive, she isn’t exactly sexy, or more to the point a sexual being. Jenny knows that she wants to have sex for her 17th birthday, but she doesn’t know what it will be like and is a little apprehensive. Mulligan nails this insecurity and really conveys Jenny’s interest in exploring sex and her own sexuality. While you never see them have sex, Mulligan allows Jenny to change with this changing event. Jenny becomes more self-confident and self-aware, as she loses her sense of awe towards sex and comments on how short it is. I can only imagine how Lindsay Lohan or a more respected joker like Emma Stone might have played this transition, with a musical montage culminating in a hair flip and purposeful stride. As done by Mulligan, you begin to see a girl enter one stage of womanhood. At the same time, though, Mulligan retains Jenny’s youthful irreverence that makes her think she knows everything now that the “one” big mystery in life has been unraveled and exposed as a little deal (pun intended).
Am I doing Mulligan justice? It’s hard for me to accurate describe how good she is, except to say that she more realistically tackles Olivia Newton John’s evolution as Sandy in Grease.
She plays sweet. She plays smart. She plays sexy. She stops playing games all together and gets serious. She cries. She smiles.
Throughout all of this Mulligan draws you in, and in my case I felt like a wide range of emotions from protective older brother to older admirer.
Jenny takes in life in a short window of time, and Mulligan sells on the reality of all this.
I can’t recommend this movie strongly enough. I can’t sing the praises of Mulligan loudly enough. Heck, I even laughed during this movie, which was punctuated by the few times when I wanted to cry.
You’re drawn into this movie early on with a catchy title credits, and the world is compelling enough that when Mulligan crashes onto the screen you’re already sucked in.
Learning has never been as fun as it was in An Education.
(Editor's Note: See it before the Oscars, so you can be genuinely pissed when Sandra Bullock steals the Oscar from Mulligan. Oh yeah, Mulligan will also be nominated for a Lumby)

Wednesday, February 17, 2010

Breaking Bad: Season 2


I just finished season two of AMC's Breaking Bad, as season three debuts in March.
Bad is essentially a better version of Dexter or a serious version of Weeds. Our protagonist Walter, played spot on by Bryan Cranston, is a more effed up version than either cable protagonist on those shows, all the while remaining a mild-mannered chemistry teacher.
What makes BAD so good is the ho hum nature it adopts for 99% of an episode, which is punctuated by 1% of mind boggling crazyness. It's similar to THe Sopranos in this dynamic, except that Tony's crime family life shared equal time with his domestic family. The ratio isn't that way on BAD, even though at points you want to see more of Walt and Jesse (Aaron Paul). This pair of drug lords represent one of the best duos on television, and are two of the most dysfunctional characters on television.
In this season it looked like Jesse was settling into some sort of groove, but his salvation (a relationship with his landlord) was also his undoing. It turns out his lady friend was also a druggie and while they brought out the best in each other, conversely they dragged out the worst too (leading to the lady OD'ing).
Paul is excellent this season, essentially lifting the show on his back (with his relationship and an episode where he plays babysitter) while Walt gets bogged down in a constant fight with Skylar. THe marital struggles between Walt and Skylar are insufferable. Inevitable, but just so boring and drawn out. Ultimately she leaves him in the finale, except at this point we don't care and wish it had happened long ago.
This season also saw the exit of Tuco (or however it is spelled) and the introduction of Saul, who is essentially a wacked out version of Tom (Robert Duval) in the Godfather. This skeezy lawyer is now offering counsel to Walt and Jesse, with ingenious and hilarious results.

This season felt like a long transition between the highs of season one and what seems to be an explosive season three. Part of the transition feel stems from the expanded roster of episodes in season two, which saw a six episode increase to 13. Essentially the show dealt with the limitations of the dynamic, by curing his cancer and finally leaving Walt to deal with what he wants in his life and from his meth cooking.
I liked this season, but didn't love it compared to season one. I am very hyped for season three.

The Lumbys: Acting Nominations

Before I unveil the acting nominations let me describe the nominating process. To be eligible an actor or actress needed to be in a movie I actually saw, which disqualified contenders like Jeff Bridges or Colin Firth. Secondly, I tried to imagine if any other actor or actress could have played that role. You'll also notice that the female nominations may be weaker, and that stems from the fact hollywood doesn't give women platforms to shine (basically I don't want to seem sexist).
Finally, these nominations are not static and this is a fluid process. If you want to suggest someone i left off or think there is a movie i must see before the big night (TBA), I will consider your suggestions, especially since I'm weak on leading actresses.


For now, though, let's see the nominees...
For Best Supporting Actress:
Anna Kendrick (Up In the Air)
Vera Farmiga (Up In the Air)
Mimi Kennedy (In the Loop)
Rinko Kikuchi (Brothers Bloom)
Melanie Laurent (Inglourious Basterds)






For Best Supporting Actor:
Alec Baldwin (It's Complicated)
James Gandolfini (In the Loop)
Joseph Gordon-Levitt (Killshot)
Zach Galifianakis (The hangover)
Prawn protagonist (District 9)
Patrick Wilson (The Watchmen)







For Best Actress:
Kristen Stewart (Adventureland)
Meryl Streep (Julie and Julia)
Diane Kruger (Inglourious Basterds)
Zooey Deschanel (500 Days of Summer)
Carey Mulligan (An Education)







For Best Actor:
Sharlto Copley (District 9)
Christoph Waltz (Inglourious Basterds)

Peter Capaldi (In the loop)
Liam Neeson (Taken)
Joseph Gordon-Levitt (500 Days of Summer)
George Clooney (Up in the Air)

Rebel Without a Workplace


(Editor's Note: A version of this column will appear in The Saratogian's online section The Scene. But you can read it here first, and with pictures! Or you can go on your way and find porn, but please let it be good porn. Don't waste your time with this or bad porn)

On multiple occasions recently I’ve experienced the issue of professionalism in the workplace. It was first broached by a Super Bowl commercial portraying proper casual Friday attire as underwear. The topic popped up again when I witnessed a member of the Assembly flicking things at another member during a public hearing. Personal relevancy came when I was verbally reprimanded at one of my jobs for failing to meet my employer’s standards of professionalism.
The incident stemmed from a disconnect in expectations about how to represent that organization. In this instance my work habits were on display for the public, which understandably mandates certain etiquette.
Behind closed doors, though, the standards can relax. It may be as simple as loosening a tie or as radical as using ties for sexy office bondage. That’s why I think a business should operate like a sausage factory. Not filled with male employees, but hidden from the public’s prying eyes.
Obviously a work environment needs to maintain some modicum of respectability so it doesn’t devolve into a frat house or John Edwards’s campaign headquarters. This still allows for a sharp contrast in the perceived exterior compared to the actual interior, so that you can embrace an atmosphere that provides some level of comfort and lets people function at their maximum capacity.
This got me thinking about the conditions that would foster my peak productivity and I came up with something that resembles Mad Men + question time in parliament - military regulations x Jim Halpert’s work ethic. There would be good-natured jocularity, flexible hours, formal attire, free-flowing libations, romantic trysts and a company softball team.
In theory this dynamic would free me from the societal shackles that I speciously believe are holding me back. In actuality it wouldn’t be long before I pushed beyond the limits of this almost limitless workplace.
Why wouldn’t I just leave well enough alone? Because if you give me an inch I’ll say ‘screw it’ and switch to the metric system.
This doesn’t stem from any desire to rebel, as I’m not a youth in revolt or super bad. My motives are much simpler, since I’m just a wannabe adult in a state of arrested development. It’s because of this that I see uncharted territory, when in actuality I’m just gazing at issues and scenarios I simply haven’t explored yet. They have been broached by my predecessors, who know where the landmines are and how to avoid them.
So until I develop my own institutional memory I need to tread carefully. I may not be able to quantify office professionalism uniformly, but I know that for me it means demonstrating self-restraint and recognizing that there are real stakes. Part of this cautious attitude means abandoning the idea that I’m just a kid pretending to be an adult, and accept that I am an adult. Because while I may not be living in the real world, since I’m trapped in purgatory while I live at home, I am working in the real world.

The difference is night and day

In December last year I saw a trailer for the movie Night and Day, which I wrote about when i saw it (http://reluctantadultperspective.blogspot.com/2009/12/its-like-night-and-day.html). The movie seemed like fun and worth watching.
The same cannot be said about Ashton Kutcher's new film, Killers. THe movie seems to follow a similar structure, except with Kutcher and Katherine Heigel in the lead roles instead of Cruise and Diaz. Never thought I'd say this, but Diaz and Cruise appear to set the bar way too high for Kutcher and Heigel to reach.
Killers looks like a no fun copy that is formulaic in all the wrong ways.
What do u think?
http://www.imdb.com/video/imdb/vi2737570841/

Tuesday, February 16, 2010

Locke'd and Loaded: We Want You (plus numbers)

I’m not sure what would be scarier; John Locke the substitute teacher or the substituted version of Locke on the island. While the latter can turn into a smoke monster and smash your face in, the former does come equipped with knives. Both are united by their insistence people can’t “tell [them] what to do!”
I found Man in Locke’s (MiL) ranting at the Island child very revealing. MiL tries to present himself as the character with all the answers. He even mocks Locke 1.0, who willfully became a pawn of the island. In actuality, though, MiL appears to be something of a façade. Much like the fake persona he carries for season five, pretending to be Locke, MiL doesn’t seem to be everything he wants people to think he is. He is much less, but glosses over his frailties with self-confidence and a winning smile.
The biggest surprise for me in tonight’s episode was that Locke in the flashsideways is not the man of faith, who is described by Ben during a touching funeral. At the funeral for Locke 1.0, Ben says that “John Locke was a believer.” In the flashsideways Locke doesn’t believe in miracles, destiny or that he can ever walk again. We should have seen this coming based on how skeptical he was initially about Jack’s offer of a consult. What’s even more telling about the offer of the consult is the fact that Jack is so optimistic about Locke’s chances, suggesting that Jack is the man of faith in the flashsideways.
In fact, it appears that Locke has given up his I can do anything mantra after a conversation with Rose the Temp Placement Lady. Rose pushes Locke to recognize his limits, but at the same time contends that he should strive for his full potential. Locke appears to embrace this idea by the end of the episode when he accepts life as a substitute teacher (science nonetheless).
I found flashsideways Locke’s newfound contentedness to be rather assuring, and indicative of a trend in the flashsideways. Things seem to be working out better for Hurley and Claire too, and at the very least aren’t any worse for Kate.
I think my favorite thing about the flashsideways was that we finally got to see Locke without a shirt. I’ve always been bothered by his man boobs and it was nice to let those boys breathe free. Actually, I was surprised that the censors didn’t blur those b-cups when they were floating in the bathtub.
The second biggest surprise was the presence of Ben Linus, who is presumably a doctor in the flashsideways (based on episode 6’s title, Dr. Benjamin Linus). This version of Ben is whiny and neurotic, seemingly resigned to a menial life without the island offering him a chance at notoriety. This character is intriguing, but I doubt that I would be interested in watching him for an entire episode.
The final thing about the flashsideways was the lack of déjà vu moments. Locke didn’t appear to recognize Rose or Hurley.
On the island Ben and his new compatriots are heading for the Temple, after burying Locke 1.0. Before leaving, though, Llana snags some of Jacob’s ashes. I have no idea what that means and I won’t dwell on it for too long, since she’ll probably just use it for kitty litter at the temple.
The best part of the episode was Josh Holloway’s performance as Sawyer. Two weeks in a row now he has delivered stellar showings, and I hope the Emmy voters are taking note (Terry O’Quinn should probably get a nod too, as he scared my mom tonight).
With nothing left to lose Sawyer was in his WTF mode, as he opted to go with MiL in search of some answers. I don’t think he’s that curious about answers, especially since he wasn’t that impressed by resurrected Locke 2.0, but I do think he was intrigued by Locke’s new reckless abandon and air of self-confidence. As a rudderless ship, MiL represented a leader for the directionless Sawyer.
Anyway, I found Sawyer’s interactions with MiL to be on par with MiL’s rapport last season with Ben. This dynamic wasn’t as funny, although it did have its moments. The most compelling part about MiL and Sawyer is their shared desire to be their own men. (This aspect about MiL seems hypocritical, since he preaches the need for self-determination, but appears to be as manipulative as Jacob.)
During a pit stop on their journey Sawyer and MiL both have visitors that offer illumination to the viewer. MiL runs into an Island Kid (who looks like a young Jacob), who reminds him that “You know the rules. You can’t kill him.” This sounds like the problems that were plaguing the Man in Black (MiB) during the season 6 finale, when he lamented the fact he couldn’t kill Jacob. Now we’re inclined to believe that he found a loophole around the aforementioned rules, but I don’t think Jacob is dead (remember that ash I didn’t want to think about?). MiL isn’t happy with this pronouncement and rejects the idea that he is restrained by anything.
Sawyer runs into Richard Alpert, who was freed by MiL earlier in the episode when Richard opted not to join his team. In that instance MiL referred to Richard as a candidate, which is how he would characterize Sawyer and the other castaways later on. I think this reaffirms the popular idea that Richard did come over on the Black Rock, even though it seems to obvious.
Anyway, Richard tells Sawyer that MiL “wants everyone dead.” I found the back and forth very revealing based on Richard’s inability to provide substantial answers. I think Richard is finally in over his head, as issues above his pay grade are at stake. If he had a better understanding of what was going on I think he would have been more likely to provide Sawyer with less vague answers and could have gotten him to abandon MiL.
Eventually Sawyer and MiL arrive at the cave hideaway, which offers two big answers.
The first answer is the meaning of the numbers, which is that they really were random. To be fair, though, my conclusion is based on MiL asserting that “Jacob had a thing for numbers.” I think that means the numbers have no meaning in terms of their selection. I don’t think I care why Jacob chose the numbers, and I’m fine with the idea that they’re random, but I do want a few answers about the numbers. Specifically, why did that one guy here the numbers? That’s it. Just tell me that. Fine with the dartboard creation of the numbers, in that Jacob chose them randomly, but I do want to know why they keep popping up.
Speaking of the numbers we see that: The Kwons are 42; Jack is 23; Sayid is 16; Sawyer is 15; Hugo is 8; Locke is 4. Who are we missing? Um… Oh yeah, the most annoying character ever, Kate. What does that mean???
The other answer that I inferred came from the black and white stones. MiL throws the white stone into the ocean as part of an “inside joke.” (Oh yeah, and when I say answers, I just mean we’re closer to one) The whole scene just speaks to the good versus evil element of the island. It also is a nod to the black and white stones we found in season one with the skeletons of Adam and Eve. The “inside joke” is that there is no big meaning to the stones and the bodies, except that they signify to the length of this struggle and that it really is a struggle between light and dark (like backgammon. Har har).
So it appears that MiL has found his first ally in Sawyer, as they both are united in their desire to get off the island. Not sure what their alliance means, but I assume MiL is just using Sawyer for some reason. I believe this because I never believe anything I hear on Lost (unless it comes from Sayid or Richard). For that reason I listen to what MiL says, and just remember it for later. Did he used to be a man? I don’t know and I’m definitely not going to take his word for it. My approach will be like Jack, which is I’ll swallow the mysterious pill until people are straight with me. I’m just hoping it’s not a roofie, because if I start forgetting things this show will make even less sense.
The final thing isn’t something from this episode, but from the episode in season three called “Flashes Before Your Eyes.” Rewatched that episode today, and I was struck by the flashback s in that episode. Struck by them in the sense that they were so similar to the flashsideways scenes we’re having this season. Desmond is conscious of his time on the island, while he leads a life off the island and not of the same linear time progression. In both cases the shifted timeframes stem from incidents at the Swan station (the Hatch). In Desmond’s case the flashes were linked to his island experience, which leads me to believe (quite emphatically) that the flashsideways are tied in with normal progression of events. Aside from the example I cite, just think about it in terms of the flashbacks and flashforwards, as they have relevance to the current chain of events. It’s all tied together.
Random thoughts:
• How did Locke get paralyzed in his flashsideways?
• Who is the island kid that MiL sees? Could be a young Jacob by his looks.
• So Man in Locke is here to stay, if we believe Llana’s claim that he can’t change shape again. Speaking of Llana, how does she know so much? Also, is she hot? I can’t decide.

Thursday, February 11, 2010

Not Wire Worthy

I find it hard to believe that George Pelecanos was a writer for THE WIRE, since his book THE NIGHT GARDENER didn't reflect the same level of quality. There is definitely something reminiscent of The Wire in his book. The book, though, seems built on faulty foundation that makes it impossible for it reach its peak height.
THE NIGHT GARDENER offers an interesting premise, with the return of a serial killer that unites three cops from twenty years before. I was excited for this concept, which is usually the type of story less qualified writers embrace. The result was not nearly as satisfying as I thought it would be. (Spoiler Alert) My disappointment didn't stem from the fact the book jacket details are a red herring, but from the fact that in an attempt to be gritty and real the story is a corny and cringe-worthy.
The corniness is exemplified by the epilogue, which offers language you'd expect from CSI or the THE LOVELY BONES film adaptation. The characters are also phony, even as Pelecanos tries to describe layered characters. What he creates is are souffle characters that appear to have depth, but are easily cracked and lack real definition.
THere are moments that seem grounded in reality. At points I could imagine the world of The Wire. What I was struck with, though, is that the actors in The Wire can sell this world better than Pelecanos can in a book.
The whole thing just felt rushed, with the pacing not allowing for any believable sort of development. Everything just sort of falls into place and does so in a predictable manner. The only surprise isn't satisfying and makes the whole book seem like one of the secondary stories in THe Wire. That's fine, for an after thought, but if I'm going to make this kind of commitment I want a primary story.
Pelecanos takes a big swing with this book, but just fouled the pitch off.I really have no desire to try Pelecanos again. Maybe if I watch The Wire again I'll be motivated to give him a second chance.

Black Echo: A Book Review

This is the first in a series of book reviews I'll be offering on my blog. Lately i've been devouring paperbacks like it was my job. It actually just seems like that, since I'm doing most of my reading at work.
Anyway, i kicked off this effort with the MALTESE FALCON. Well, I got about 3 pages in before I gave that up. The book had been recommended by an adult friend who likes to spread his books around. He was disappointed that I wasn't enraptured with this book, which is his favorite, so he gave me a more contemporary book in Michael Connelly's BLACK ECHO.
I first heard of Connelly from a recommendation by Stephen King. Besides that, all i knew was that he wrote crime fiction.
Well, let me tell you that Connelly does much more than that. James Patterson writes crime fiction, and i mean that in a very degrading way. Connelly writes realistic yarns that offer engaging characters, captivating stories and dialogue that sounds like someone could actually say it.
For me, the best part of BLACK ECHO was the pacing of the story, which isn't breakneck speed. THe resulting flow allows you to enjoy the development of what you're reading. This allowed me to appreciate what a vivid world Connelly creates for his protagonist, Harry Bosch, who serves as the star for a whole host of other stories i plan on reading.
Ultimately, what i like about the series of events that unfolds is how it doesn't merely proceed like dominoes. Pages aren't solely used to push the mystery along, but are used for character development. I don't mean that in some sort of Literary class way, but in terms of the fact you're able to care about characters or better understand them.
Part of this relationship with the characters stems from the lines they spew, which are reminiscent of THE WIRE (a show he was approached to work on, but couldn't). This is the greatest compliment i can bestow a writer, since THE WIRE set the bar in terms of witty banter, mindless dribble and contentious arguments. It's not just about phony bologna cliches or plot-forwarding nonsense.
The inner monologue of our hero is also well drawn out, as it offer an accurate picture of the muddled realities of one's train of thought. Even our best detective isn't reasoning things out in a straight line, but rather much like the story, it ebbs and flows with clarity and confusion.
Speaking of the actual story, it is an enjoyable ride that is not characterized by continuous action, but is punctuated with pages that will satisfy anyone's appetite for development.
There are twists and there are turns, orchestrated in a manner that keep you on the edge of your seat but never lose you in the process.
Read this book and enjoy it. I did.

Tuesday, February 9, 2010

What Kate Does Does Does Does Does (etc.)

(Spoiler Alert: Read this if you're up to date or like reading more than television)
This was by no means a good episode of LOST, in fact it embodies the worst of what the show has become, which is an Easter egg hunt for answers. At its best, LOST is a compelling show, with a captivating mythology. Tonight’s episode was boring television that relied solely on the mythology of the show for entertainment.
People have espoused the idea that the flash-sideways may not captivate viewers the way the flashbacks and flashforwards did. I now believe that this is the truth, as the Kate storyline was absolutely abysmal. Granted, I’m a Kate hater, so I have a bias, but her arc was just bad.
It was also unbelievable, as embodied by the guy who aids an on the run felon for $200. I’m a little worried about what that guy would have done for $300. Ripped off his face and let Kate wear it as a disguise?
There were only two interesting bits in Kate’s flashforward. The first is the presence of Ethan, and what that means, and the second is the recurring bits of déjà vu.
Regarding the latter, which included Jack and Kate double taking on each other and the naming of baby Aaron, I think we can be assured that our heroes have some vague recollection of a past together. I don’t know what this means, but the show’s head writers have said this storyline is not some alternate reality and that it is a flashsideways, so I don’t know how it would be possible that these characters know each other.
The much more interesting aspect is the introduction of Ethan into this world, which begins to tell us a lot about the flashsideways world. Ethan in the standard timeline was the son of Horace Goodspeed, who met his wife on the island. We know that the Dharma initiative was on the island in the flashsideways, as we saw Dharmaville underwater, which leads me to believe that Ethan is the same person as the kid who was born on the island. In this reality he left the island with his family on the submarine that fled and has started a life in the flashsideways world off the island. It makes sense that Ethan would have left the island, because in the normal timeline he is a skilled doctor. He most likely gained those skills off the island, which would lend credence to his appearance off the island in Juliet’s flashback.
But what does Ethan’s presence mean to the creation of the flashsideways? I think it means that this world is based on one in which the island sank to the bottom of the ocean after Jughead was exploded. Although an H-Bomb probably should have destroyed the whole island…
Regardless, I think we have to assume that our timeline in the flashsideways is different starting from 1977 with the explosion of the bomb. Two deviating stories were created at that point, with the bomb causing one flashsideways and merely causing a time shift in the other.
In my opinion the most interesting reveal revolved around the “sickness.”
We first learned of this term from Rousseau who seemed prevalent in this episode, even though she’s been dead for three years. Rousseau first used this term when telling Sayid about the rest of her team, which she had to kill after they caught the “sickness” from the others. This was apparently not completely true, because we later saw that Rousseau’s crew began acting strange after spending time in the smoke monster’s (MIB) hole in the ground.
The most significant part of this is that Rousseau said she had to kill her teammates in case they were rescued. This implies that she didn’t want the sickness to get off the island. We don’t know why she thought this yet, but it appears she was right (if you assume that the sickness is from MIB), as Man in Locke wants to go home. Maybe that means the temple, but it could mean off the island, in which case she prevented MIB from getting off the island.
The “sickness” apparently makes you act strange, which made it less of a surprise that Claire had been infected with it. I’m inclined to believe that her disregard for her son when she abandoned him was a product of her infection. It’s hard to tell when she was infected, but it was confirmed by Mr. Miyagi that she was infected.
If we accept that Claire was infected when she was with Christian, it seems likely that Christian was driven by the MIB. That would mean Locke was taking his instructions from MIB when he was told to bring everyone back. The counter argument to this would be that Jacob also appeared to want our heroes back on the island (Obviously there’s much more to explore about MIB causing visions and impersonating people on the island, but I can’t explore it now).
I do wonder, though, who else has been claimed, why people are claimed and how people are claimed. Sayid’s possession seems to have begun with the murky water or when he died and his body became an empty vessel. This empty vessel idea would reinforce the idea that MIB was running around the island in MIB’s body, and would lend deeper meaning to Flashsideways Locke’s comforting words about Christian’s missing body (he characterizes it as nothing more than a body).
As far as who else has been “claimed,” it seems possible that Ben could have been claimed as a child, but I’m not sure.
All of this makes me wonder why the Others were taking so many blood samples. Michael was tested by the Others when he reached their camp and at the start of season three Jack, Sawyer and Kate were tested. Seems a little different than the electroshock test, but maybe that had another way of testing. Regardless, it seems like the Others have known about this threat for a while.
IT also would seem like the Dharma initiative was aware of the disease, since they had their own vaccination program. Additionally, they built the sonar fence that seemed to stop the smoke monster, which probably carries the virus. They also had the quarantine label on the hatch, and that could point to some knowledge of a virus.
All of this is very circumstantial, as it’s not clear who is good and who is bad. I think it would be too easy to accept that the MIB is bad and Jacob is good. Because of that, I’m hesitant to endorse any of my ideas too strongly.
Ok, so now just some random thoughts…
• A dejected Sawyer is a depressing Sawyer. Although, I think he could become a very destructive force if he believes he has nothing to live for. At the same time I could see him just calling it quits.
• I am inclined to believe that many events from the island will pop up in some shape or form in the flashsideways.
• How does Mr. Miyagi know that Claire is Jack’s sister? Was he talking to ghost Christian?
• Speaking of Mr. Miyagi, we now know that he was brought to the island. Most likely he was brought by Jacob, but when and why?
• I firmly believe that Kate’s character was inspired by Julia Roberts’ performance in Runaway Bride
• So Claire was still destined to give away her baby, and apparently to a real couple. Makes me wonder if the psychic guy ever picked out adopted parents in our normal timeline. I don’t think so.
• I like when Jin gets some dialogue. He is criminally underused.
• It was great to see Aldo being brought back, although I’m sad he’s dead. The nice thing is that in the flashsideways he is the co-owner of a bar in Philadelphia.

Thursday, February 4, 2010

Super Bowl Controversy

There is some hullabaloo emerging about CBS's decision to air a pro-life advertisement but rejecting an advertisement for a gay dating website. Personally I find the former to be an idiotic message, which is actually very misleading since it doesn't accurately present the facts of the instance it is referencing. But, I don't have a problem with the pro-life getting air time, and i also don't think the pro-choice camp deserves equal time.
(THIS IS TIM TEBOW's GF. Wanted to run her picture just to show his amazing self-control, since he claims to be a virgin. God is great)
My major problem stems from the fact that they rejected what is an actual advertisement, yet chose to run what is actually a policy statement.
Now i understand that people aren't comfortable with gay people (the same way i understand that people are idiots), but the advertisement isn't that controversial. You don't actually see any kissing, just an exaggerated makeout session that is meant as a joke. If this offends anyone they should take off their white hoods and say so.
Maybe that's an overreaction, because i guess you could say children are watching early on, in which case I would say air it later in the game. Except, wait a second, all the beer advertisements will have scantily clad women, but that's ok.
Ughhh.
www.youtube.com/watch?v=0VMqHb03p74&feature=player_embedded
Here's a link to the advertisement. What do you think of the ad? Should it have been run? Is it just a bad ad? I'll admit the quality is poor.

Tuesday, February 2, 2010

Ben is down but not out

(SPOILER ALERT: DON'T READ UNLESS YOU'RE UP TO DATE ON LOST OR PLAN ON BLOWING UP A HYDROGEN BOMB THAT WILL NEGATE THIS EXPERIENCE)

I haven't actually given up on Ben. I've been thinking about Jacob's touch and what it means. The show wouldn't have highlighted this aspect of the season five finale if it wasn't important, which makes me think Jacob's touch of Ben before he died has some significance.
The touch doesn't necessarily impart powers, although it did in the case of Locke, as it brought him back to life. In this regard, i think it is possible the touch enhanced Jack's ability to save lives. As far as the others, I'm at a loss, except maybe for Sun and Jin, who have a love bond that allows them to overcome how awful they are to each other.
Anyway, Jacob's touch could just be a way of signifying that Ben is still important. All the other people he touched in season five survived the blast. You'll not that Juliet's season five flashback didn't have Jacob in it and she ultimately died in the endeavor. Miles is the exception to this rule, obviously, so just ignore his presence.
We still need to find out about Annie and there is an episode titled Dr. Ben Linus, so I think we'll at least find out more about Ben.
But like I said, let's not count out Ben until he has breathed his last breath. Widmore was at a pretty low point when he got kicked off the island, but he rebounded and i think Ben can do.

Half LOST and Half LAX

(Editor’s Note: This column is littered with spoilers. Don’t read unless you have already seen it or have the same disease afflicting the guy in Memento.)
In the Lost season premier the show builds on the developments of the most recent finale to give us a clear picture of where the show is finally heading, which is a showdown between the forces of good and evil.
On the side of good we have: Jacob’s inept body guards, our time traveling castaways, The Others, Richard, Jet Li and his translator.
On the evil side we have: The Man in Locke. By itself not that impressive, but now that we know he’s the smoke monster he seems more daunting (we’ll come back to this revelation).
The middle: Ben. No idea who Ben will fight for or why he would want to fight. This beaten down version of Ben that we’re presented with is rather disheartening. I find it unnerving when Ben doesn’t know what’s going on, and seems content to merely go along for the ride. Some might think he is still scheming, but I’d argue that he is outside of his realm now, especially since we have the ultimate schemer in the Man in Locke.
Speaking of The Man in Locke, also known as the ghost monster, I think we all need to reassess the last five seasons. Every sign that supposedly originated from the island could have actually come from the Man in Locke (who will now be called MiL), which makes me think that Jacob has been trapped the whole time. Jacob being trapped would make sense, since Locke supposedly heard him say “help me” when they were in the cabin. The problem with that idea is that Jacob seems to set up camp at the base of the giant statue. Although there was definitely something in that cabin, and there was a circle of ash to keep something in or out. Anyway…
I think I like the parallel storylines. If there is some payoff at the end of the plane storyline I think it could be promising. On the other hand, though, I find some of it very annoying, specifically Jin and Sun’s dynamic. I can’t go through another season of them fighting, especially while the normal timeline versions are madly in love. Maybe the show is demonstrating the positive effect of the island in this case.
Off the island I’m looking forward to seeing Charles Widmore, Desmond and Claire. I hope Eloise pops up and I’m praying we get a little more of Daniel Faraday. I think Juliet will appear in this arc.
Here are some more random thoughts about the LAX storyline: I like the throwaway sight gag with the annoying guy who takes a flaming arrow to the chest in season five. I think Sawyer will make a run at Hurley’s money. Is Rose going to die? Is Oceanic the worse airline ever, since they either crash your plane or lose your coffin? Are Desmond and Penny together? What’s the deal with Christian Shepard’s body?
The lost coffin is very intriguing. Is it a red herring? I think it is. It’s not like they can go to the island since it is under water. This fact kept disappearing from my mind throughout the episode when I dreamed about how they would get back. They’re not going back. We’re going to explore their lives off the island.
One last thing, where were Michael and Walt on the plane?!?!?!??! Where was Paulo and his girlfriend? Ok, that second one isn’t too important, but the first one is. Doesn’t Walt have like magical powers or something? They better be on this season and there better be answers.
One more thing, regarding Charlie. What did he mean when he said he was supposed to die? Was he trying to kill himself in the pilot episode?
Back to the epic battle that is coming, which I think will be epic. I really hope there is a way to battle the MiL. As the smoke monster he seems invincible and Richard cautioned against shooting him when he was in MiL form. (Why does he retain Locke’s body?) I have no idea what the battle will look like, but it’s definitely coming.
Is this the war Widmore warned about? He said Locke needed to be there, but it’s possible he just mean MiL.
Here are some random thought about this storyline before my head explodes: Why is Miles around and not anyone else from 1977? Always knew Sayid wouldn’t die. Speaking of which….
What is the risk Jet Li was talking about from the springs? Was it the same thing Richard referred to when he presumably brought Ben there last season? In that instance Richard said it would change Ben and make him into one of them. What happens to Sayid as a consequence? But back to my random thoughts…
I like that Jack went on a leap of faith in trusting Hurley. Didn’t like how the castaways doubted Jet Li, since by now they should know to go with the flow. I still hate Kate. How did Juliet know it worked? MiL’s man boobs freak me out. Why did Juliet survive the blast?
I was really disappointed that Juliet got a prolonged death. Rewatched “THE INCIDENT: PART 2” earlier today and I was again brought to tears by what seemed like her original demise. No need to mess with the best death of the series.
Finally, I think Richard is from the slave ship called the Black Rock. That would make sense considering the chains, although it wouldn’t answer why he doesn’t age. I think that’s coming in a flashback episode for him.

Finally finally, the book we glimpse on momentarily under the walls surround the temple is a French book called “Fear and Trembling.” According to Wikipedia the central theme of the book is seeking salvation in the face of conditions that cause fear and trembling. That would lend credence to the idea that Jacob is testing people with hard tests.
Those are my random thoughts immediately in the aftermath of the season six premier. There will probably be more after I read Doc Jensen’s column in Ew, which I recommend all Lost fans check out.
What were your thoughts on the episode? Please comment. Let’s start a dialogue.

Monday, February 1, 2010

Lost: Crash Course season 3-4

Moved around the summaries here. Enjoy.
240 minutes of episodes here.
Step 13: (Season 3, episode 1) Meet Juliet and the OTHERS!
• http://www.hulu.com/watch/90189/lost-a-tale-of-two-cities
Step 14: We become more like Giligan’s island as Jack operates on his nemesis at the behest of Juliet.
• http://www.ew.com/ew/article/0,,20313460_20011171,00.html
Step 15: Let’s read about Desmond
• http://www.ew.com/ew/article/0,,20313460_20011962,00.html
Step 16: Read about Locke’s evolution into an Other…
• http://www.ew.com/ew/article/0,,20313460_20015692,00.html
Step 17: (Season 3, Episode 20) Learn about the greatest villain ever, Ben Linus, and we go to Jacob’s shack (he’s the invisible leader of the Others)
• http://www.hulu.com/watch/90170/lost-the-man-behind-the-curtain#s-p1-n3-so-i0
Step 18 (optional): Help sets up the finale
• http://www.ew.com/ew/article/0,,20313460_20039187,00.html
Step 19: This two-part finale introduces us to a startling revelation about the scope of the show and the future (maybe literally) for the castaways. You should definitely watch part 1, but you don’t need to watch part 2 and can skip to the summary that is step 20.
• http://www.hulu.com/watch/90175/lost-through-the-looking-glass-part-1#s-p1-n3-so-i0
• http://www.hulu.com/watch/90211/lost-through-the-looking-glass-part-2#s-p1-n3-so-i0
Step 20: Season three recap should fill in some holes
• http://www.hulu.com/watch/123023/lost-starter-kit---lost-season-3#s-p1-sr-i1
Step 21: Let’s read about the premier of the strike-shortened fourth season
• http://www.ew.com/ew/article/0,,20313460_20175395,00.html
Step 22: (Season 4, episode 2) This gives us the history of some additional people who are now on the island.
• http://www.hulu.com/watch/90187/lost-confirmed-dead#s-p3-n4-so-i0
Step 23: (Season 4, Episode 5) This gives us our first taste of time travel.
• http://www.hulu.com/watch/90196/lost-the-constant#s-p2-n4-so-i0
Step 24: This recap’s the episode known as “The shape of things to come.” In this episode Ben’s daughter is killed and we learn about an impending war.
• http://www.ew.com/ew/article/0,,20313460_20195369,00.html
Step 25: The finale isn’t that good, so we’re basically going to skip it and devour a recap to speed things up.
• http://www.hulu.com/watch/123024/lost-starter-kit---lost-season-4#s-p1-sr-i1

LOST: Crash Course seasons 1-2

I am extremely giddy about the start of the sixth and final season of Lost. In an attempt to share my happiness, I want to bring other people( who heretofore have never seen an episode) into the LOST family. Mostly, this is aimed at hooking my friend Alex, but other people can benefit too. So I’m going to offer my catch-up course on Lost, which will include season recaps offered by HULU, some random episodes and some articles by EW writers (eventually just from Doc Jensen).

Here we go…
Prologue: Got to lead with the pilot, so you can meet the characters. Plus, you’ll get to decide if you like the show at all.
• http://www.hulu.com/watch/86566/lost-pilot-part-1#s-p21-so-i0
• http://www.hulu.com/watch/86554/lost-pilot-part-2#s-p20-so-i0
STEP 1: Cut a hole in the box. Kidding. Actually, watch this summary of season 1
• http://www.hulu.com/watch/123021/lost-starter-kit---lost-season-1#s-p1-sr-i1
Step 2: (Episode 4) You learn the back story of John Locke (Mr. Clean), who might be the most important character on the show.
• http://www.hulu.com/watch/86553/lost-walkabout#s-p5-n1-so-i0
Step 3: EW sums up episode 1-10. This was the first recap EW ever did, and you’ll see how rudimentary it is compared to the later ones by Doc Jensen that are like a doctoral thesis in comparison.
• http://www.ew.com/ew/article/0,,20313460_845382,00.html
Step 4: (Episode 11) Where we learn about Jack’s past (why he’s so grizzled), who is the yin to Locke’s yang, and hunt down the guy that kidnapped Claire.
• http://www.hulu.com/watch/86557/lost-all-the-best-cowboys-have-daddy-issues#s-p3-n1-so-i0
Step 5 (optional): (Episode 21) Learn about Sayid and getting to leave the island on the raft.
• http://www.hulu.com/watch/86562/lost-the-greater-good#s-p1-n1-so-i0
Step 6: This is the summary of the finale as provided by Doc Jensen
• http://www.ew.com/ew/article/0,,20313460_1065840,00.html
Step 7: Read about the season two premier.
• http://www.ew.com/ew/article/0,,20313460_1107837,00.html
Step 8: Watch everything that will happen on season 2
• http://www.hulu.com/watch/123022/lost-starter-kit---lost-season-2#play-all
Step 9: (Season2, Episode 3) This episode is called Orientation, and you’ll become oriented to Lost’s mythology.
• http://www.hulu.com/watch/90195/lost-orientation#s-p5-n2-so-i0
Step 10: Read about Kate’s run from the law and how Locke and Echo bond over their inquiries into the dharma initiative.
• http://www.ew.com/ew/article/0,,20313460_1136401,00.html
Step 11: Because there isn’t a meaningful episode to give you a description of Sawyer, here is a written bit from episode 13 of season two.
• http://www.ew.com/ew/article/0,,20313460_1158064,00.html
Step12: (season 2 finale) Enjoy this action packed finale
• http://www.hulu.com/watch/90204/lost-live-together-die-alone-part-1#s-p1-n2-so-i0
• http://www.hulu.com/watch/90186/lost-live-together-die-alone-part-2#s-p1-n2-so-i0

So far this is 320 minutes (280 mandatory) of footage. I’ll be back with a plan for season 3- 5.