Characters who will be popping up in GAME OF THRONES next season

As yet another season of Game of Thrones draws to a close, pop culture sites have already started seeding the soil of fandom with news items on the next season. 

Despite the fact that this series is based on books that you can read, people like to read press releases and gossip about what is coming next season and what will actually make it from page to screen.

Luckily, Mr. K. happens to have a source willing to slip him some click-bait-y tidbits about...


New Characters You Can Expect in Game of Thrones' Next Season!

1. Profane assassin/street-thug
2. A bureaucrat at some non-governmental organization in Westeros/Braavos/Mereen who is going to make it difficult for a character to get what they want
3. Dragon Food
4. Attendant who points out to Daenerys that conquering is easy, but ruling is hard
5. A member of a conspiracy to kill the king/queen/lord/religious cult leader
6. The leader of a crazy new religious cult
7. That guy who we spend 5 minutes with so we can understand that this new mystical threat is pretty threatening once it kills him
8. Ramsay Snow's dog trainer
9. Someone whose existence threatens Cersei
10. Someone who Cersei is going to f*** over
11. Someone whose death will make Jon Snow sad
12. Someone whose death will show us that Arya/Sansa/Tyrion/Hot Pie has crossed a line
13. A seasoned British character actor whose gravitas is supposed to make up for the fact he doesn't have much to do or say
14. Yet another guy playing the Mountain
15. Darth Maul
16. An attractive prostitute who is going to make out with someone else attractive as a lead character monologues about how power corrupts or their childhood was awful or how power is hard to maintain
17. Dragon Poochie
18. Someone you start to like in spite of yourself, until you remember that they die halfway through DANCE OF DRAGONS
19. A hard-drinking old man who has a secret past
20. Victimized peasant
21. Victimized peasant woman
22. Victimized peasant child
23. Dead peasant family
24. Indie band dressed as troubadors who play the third song that ever was written in Westeros
25. Rex Hamilton as Abe Lincoln

Dear television networks:

I have an idea for the greatest show ever, that will hit all four quadrants:

Two grown-up bros, approaching middle-age, have to move to the suburbs with their daughters (who are teen witches and Mean Girls at the same time!) to uncover the mysterious past of their dead wives, who occasionally come back as ghosts to help them change their lives and/or give them sassy relationship advice. Together they all solve crimes and occasionally travel through time.


Please send all your cash monies to:


Mr. K
[Address Redacted]
Hollywood, CA 


Thanks and I look forward to working with you.

The Trial of Lucullus and/or Jesse Camp...

I watched Aeon Flux, the animated series version, for the first time tonight. The first few episodes are fascinating. I'm pretty sure indie comics tackling genre stories are only now exploring that kind of territory.

However, the legacy of MTV's original programming reminds me of a Brecht piece called the Trial of Lucullus. I'm retelling this mainly from memory, so excuse any errors.

The Roman general Lucullus dies and enters the underworld. The Gods put him on trial to decide whether or not he deserves punishment or reward. The people who he dealt with in life are called before the assembled group to testify for or against him.

A long group of witnesses come forth, who condemn Lucullus for the lives lost and ruined to war, his service in the extension of an imperialist dictatorship, and for pillaging & looting his victims.

On his behalf, a cook comes forth. In the course of his conquests, Lucullus developed a taste for cherries. So he ordered his cook and other servants to bring some cherry tree saplings to plant in Italy. Thus, Lucullus has advanced Western civilization by introducing a new food-source. However, it is not enough on balance, and thus he is sent to hell.

In the same spirit, I am grateful that, for a brief period, MTV gave us The State, Aeon Flux, The Maxx, Beavis and Butthead and Daria. But it in no way makes up for them inflicting The Real World, Road Rules, Rob & Big, Laguna Beach, and Jersey Shore (among a list of others) upon us.

Exterminate!

Between finally catching 5 Million Years to Earth (a.k.a Quatermass & the Pit) and watching a ton of Dr. Who, I'm curious as to what the timeline for each franchise (because Quatermass was a franchise, for a short time) and their various successes have to say about British science fiction and popular taste about science-fiction in general.

Hypothesis: The Quatermass series' subject matter is generally the failings of man and nature, and how man's organizations worsen those traits. Dr. Who's subject matter is the wonders of man and nature, and how most problems are best solved by an individual's bravery, compassion and intelligence. So Quatermass' success suggests a period of disillusionment or uncertainty, Who's success suggests an approaching period of optimism and excitement.

Just an idea. Anyone with any opinions on this? I can already see some flaws with the societal interpretations I've suggested, but anyone with a counter-argument about the way I've characterized the two franchises?
Quatermass & The Pit
Quatermass 2
Doctor Who: The Complete Fourth Series
Doctor Who: The Complete Second Series
Doctor Who: The Complete First Series

Mad Men, 1950s-style...

Watching Robert Wise's Executive Suite (1954), and I get the feeling that Matthew Weiner must have seen this movie at some point. Not to say that Mad Men is ripping it off, just saying that this feels like a source of inspiration.

Also, Nina Foch in this reminds me a little of Joan Holloway, down to the pen hanging in front of her cleavage.

We have to go back...lash

Two hour & a half hour finale starts in about an hour & 20 minutes.

LOST backlash began weeks ago, with the airing of "Across the Sea" and showed up in a major way during the NY Times' lead-up coverage to the finale!

I think there's a lot to criticize about LOST: the sexism, the hetero-normativity, the way a diverse & fascinating cast got winnowed down to mostly white people, and the way it deploys references in place of nuance or answers.

At the same time, the Times' dismissive attitude to the show that seems partially rooted in the participatory nature of the fanbase seems a little wrong-headed. Have they not noticed the way many modern/contemporary novels, rely on a similar level of audience investigation & analysis to really work. For example, most of the work of Thomas Pynchon.

And the aesthetic judgements they make about the show's "pacing, structure, camerawork, and acting" aren't really backed up, except so far as they say that Locke & Desmond are good. It's hard to tell if NYT's problems with these aspects of LOST are rooted in reasonable aesthetic disagreements or completely different aesthetic expectations of what "good" TV is.  On the most basic level, where is the problem with pacing? On the seasonal level? On an episode-by-episode level? Over the course of the whole series?

Ironically, just like the producers of LOST are frequently accused of doing, Mike Hale doesn't answer the questions he raises.

Future events such as these will affect you in the future: FLASHFORWARD

As LOST wraps up its final season with a fair amount of fan argument & disappointment, it's easy to forget how well the show has blended soap opera with adventure, and straight-ahead adventure with an intellectual puzzle game. LOST is one of a very small number of shows where, even when I'm frustrated with the way characters are paired off, I'm emotionally invested in those pairings. And while it looks like (pardon the pun) the creators might not stick the landing, they've kept the show going through 6 seasons, making the numerous changes and compromises (creative & practical) look like part of a relatively coherent, focused show.

All you need to do to realize how difficult this feat is to look at ABC's attempt to create a successor for the show. A show which debuted to high ratings on LOST's old night, which supposedly had 5 seasons worth of material already planned out... and now seems guaranteed to be cancelled after one season.

FLASHFORWARD

I fought the war but the war won't stop for the love of good: Chris Carter's HARSH REALM

So I just watched the first four episodes of Chris Carter's X-Files follow-up Harsh Realm this weekend. The AV Club had mentioned it in a list of shows that never got a proper resolution, and the premise sounded intriguing. Plus, it has Terry O'Quinn in a pretty important recurring role.

The concept is that Thomas Hobbes (Scott Bairstow) is a rather heroic Army Lieutenant who's engaged to Sophie Green and nearing the end of his enlistment. One night, some soldiers show up, escort him to a military base, where he's informed that he's been selected to play this virtual reality game called Harsh Realm and take down the number one player, the legendary Omar Santiago (Terry O'Quinn, giving a decent performance in an unfortunate pencil-thin mustache). Harsh Realm was developed as a simulation of the aftermath of a nuclear war, replicating the geographic and demographic characteristics of the United States (or at least as of the 1990 census). He was only asked to pack an overnight bag, so he assumes this should be a pretty simple mission.

Except once Hobbes gets in the game, he finds out that a large portion of the game's population are would-be players who were given the same mission as him, and that Omar Santiago now rules an ever-growing portion of the Harsh Realm version of the nation. Oh, and there's no way out of the game except dying (which also kills you in real life) or discovering Santiago's portal to the real world.

What's weird about watching Harsh Realm now is the way it predicts a couple of shows (there are a lot of elements of LOST and Dollhouse in both concept and execution), while never quite synthesizing those elements successfully.

Like LOST, this show uses its mysterious setting as a crucible of character, with a lot of thematic interest in destiny vs. choice, and talks a lot about faith and salvation. There's also the referentiality/allusiveness to history and philosophy to add depth (the lead character's name and the second episode named Leviathan after his namesake's book, for example). And both possess the same talent for crafting surreal, enigmatic cold opens that draw you in (for example, "Leviathan" and "Kein Ausgang"). And most superficially, there is a driven madman played by Terry O'Quinn, a Party of Five alumnus with an everyman appeal, a shady, wise-cracking mystery man and a cute dog that follows everyone around.

Like Dollhouse, there's the same fascination with where identity comes from and whether technology can create something with the complexity of real human beings. The care and recruitment of the soldiers injected into Harsh Realm is reminiscent of both "the treatment" and "The Attic" from Dollhouse. And of course, both share a paranoid fear of technology hijacking our lives while suggesting that the shady people controlling  that technology are actually holding off a far worse threat.

So Harsh Realm has some interesting ideas in play. It also throws in some nice elements of world-building. Since the world is a video game where people disappear once they die, there is no concept of religion or afterlife except for whispers of "the real world" that a savior could lead them to.The soldiers injected into the game usually treat Virtual Characters like pets or possessions since they're not real, which contributes to that same Hobbesian nastiness. Finally, there's a suggestion that a lot of people forced into the game try to find simulations of loved ones from the real world (since the game is based on a fairly recent census) to cope with losing the real thing.

But for all these cool moments, Harsh Realm suffers from several problems. First, Scott Bairstow's character is pretty bland and forced to deliver some of the most thudding, on-the-nose narration you'll hear in anything from a major network that's not Flashforward. Second,  Carter lacks the courage to follow his material. There are several comments on how Hobbes' dog would make a good meal for the post-apocalyptic hordes, only for him to be left alone and allowed to interfere with the bad guys' schemes without harm. Third, a crippling case of On-the-Nose-itis, where characters are named "Max Pinnochio" with a straight face and people constantly reiterate that "if you die here, you'll die in real life" (just like in every movie since Tron).

So it's easy for me to see why Harsh Realm struggled, especially in the age before DVDs collected full seasons of TV. It was daring for it's complex concept and dystopian setting, but it was flaws in execution that sank it, not just its' visionary qualities. Like a lot of pioneers, it never reached the new frontier it sought.

Terry O'Quinn is a great actor, reason #652

Maybe a real episode review later, but maybe not. Or maybe my thoughts on season 6 so far. I worry that LOST is becoming more like Flashforward, in that Flashforward has some cool moments, usually starts & ends well, but is otherwise a mess that makes few emotional connections. Of course, the fact that LOST has made mis-steps before & corrected them gives me hope.

But I did want to say that "Sundown" reminded me of why I love Terry O'Quinn's work on the show. He's maybe in the episode for all of 5 minutes, but he makes them count. The moment that got me, however, was not his conversation with Sayid, as good as it was.

No, the moment that got me was when Sayid, Claire and Kate join up with Smokey/Locke's followers outside the temple.

There's a great shot of S/L's face as he looks at Sayid (satisfaction at the job this new follower has done, pride at the plan coming together), Claire (recognition of a trusted ally) and then he see Kate. You see a quick moment of surprise that hardens into a grimmer but almost-unreadable expression.

In about 10 seconds, Terry O'Quinn's facial expression tells us more about his relationship to these people and how his plan is going than 10 lines of dialogue could.

Even when I'm lukewarm on LOST, I have to recognize they have one of the largest and strongest ensembles on network TV, and the show either lets them or makes them do some pretty complex work. And that alone makes tuning in worthwhile week after week.

"I'm very disappointed in all of you!"

So Smoke-Monster Fake Locke would say to me for not putting up any of my promised posts this weekend. I have no excuse, except that writing about Kate-centric LOST epiosdes are the least interesting thing in the world for me. Instead, I started writing a long post about the problems with Kate as a character, which, if I can hone into something other than verbose rage, I might put up. Otherwise, you're probably better off just listening to Sonic Weapon Fence's "Kate + No One 4 Eva" which summarizes her issues more succinctly than I ever could.

But hey, if anyone other than Kate is the focus of tonight's episode, I might actually post something about that!

"I'm sorry you had to see me like that": Thoughts on Lost's Season 6 premiere

Now, the problem with blogging about the premiere of Season 6 of LOST at this point is that all these smart people on the internet have commented (along with some stupid people).

For examples of stupidity, see Jack Shafer at Slate's response & Salon's write-up. I can understand the critics' not relating to the characters anymore, but not the vitriol directed at the actual narrative concept of parallel universes. Admittedly, you don't see it that much in the mainstream, but it was used in Sliding Doors for crying out loud, which is hardly art-house cinema! If TV critics have their minds blown by this idea, then that says something very sad about the poverty of imagination in television. Does Jack Shafer explode with rage when he reads Phillip K Dick or see the last scene of 25th Hour?

As for me, I wasn't bothered by the parallel reality storyline. Personally, the narrative that grabbed me was the one in 2007 on the Island, but it was nice to revisit with some of the cast members lost in previous seasons and get gentler moments with even the current cast members. There was something strangely moving about seeing Locke & Jack actually connect, after seasons of seeing them argue & both move in douche-ier directions.

And while I don't agree with "Darlton"'s claims that this new season is accessible, I can see what they're getting at. In one timeline, you've got all the sort of sci-fi/fantasy/mystery elements that get the theorists & wonks going. In the other, you've got a return to the character-based soap-opera of the first season and a half.

Of course, each timeline contains both those elements to some extent. But if you hate all the Dharma Initiative/Others stuff, you can enjoy Jack-and-Locke daddy issue theatre!

But I enjoyed both. And it was interesting how the two contrasted. For some reason, the 2004 timeline felt desaturated & washed out, while life itself had a sordid quality. As much as the character of Kate still annoys me, the change from selfish fugitive (who takes a pregnant woman hostage) to take-charge adventurer was a change for the better. The same with Charlie's growth from self-destructive addict to brave martyr. I think you can argue both sides of these people are inter-related (in both realities, Charlie searches out death, but at least in the 2007 reality, he died for something worthwhile), but they show growth.

Wrapping this up now, so onto my comments:

• Love Flocke/Smokey. Terry O'Quinn certainly gets his fair amount of show-off time, but his delivery of "I'm disappointed in all of you" hits several notes at once (sincere disappointment, anger, parental condescension) that most actors would be hard-pressed to match.
• I'm starting to feel like the writers don't know what to do with Sun & Lapidus anymore. It's especially disappointing with Sun, who is probably one of the most complex characters in the show, but she keeps on getting dragged along in other peoples' schemes. My disappointment with Lapidus' treatment is more at the waste of Jeff Fahey's considerable talents.
• Woohoo! John Hawkes! I thought he looked familiar, but it's to his credit that I couldn't place him as Sol Starr, who is not that different a character, but is expressed in such a different way.
• I think the writers have a plan with Man-in-Black & Jacob, but I'm still not completely sure how the survivors' experiences have been shaped by both. I'm guessing all the ghosts have been agents of MIB, except a good portion of their advice has been benign. Whereas Jacob seems friendlier, but some of his assistance in the real world (saving Sayid but not his wife, encouraging Sawyer's hunger for revenge) actually has a darker tone. And why is Smokey active in the Outer Temple when the people of the Inner Temple want to & know how to keep him out?
• Also, what is the relationship between the Dharmaville Others & the Temple Others? Cindy, Zach & Emma were with both, but Alex didn't know about the Temple. Why has Richard's group been camping out in the woods for three years (since they clearly didn't return to Dharmaville) when they could be at the Temple?
• I think criticism of the Oceanic survivor's Jughead plan as selfish is a little harsh. Short-sighted, yes, but bombs don't SINK islands. Also, it's not just that Jack/Kate & Sawyer/Juliet are unhappy. Almost everyone that crashed with them is now dead, as are Faraday & Charlotte & almost all the other Freighties. Plus Rousseau, Alex, Nadia, a large portion of the Others & at least a few of the passengers of Ajira 316 (though that last group the 1977 people didn't know much about). In the face of that, it is hard to remember how the Island has positively effected them.

"Nobody says anything bad about the dead": Lost, Season 2, Episode 17

"Lockdown"

Synopsis: When Jack leaves Locke and Henry behind in the hatch, the blast doors shut, catching Locke's leg and forcing him to rely on Henry to press the button. Meanwhile, Ana Lucia, Sayid and Charlie find the balloon. Jack and Sawyer play poker. And Locke remembers how his father destroyed his relationship with Helen. It involves his dad faking his own funeral, some laundered money and the mob.

Comments: And then, after that amazing episode with "The Whole Truth", we get a more mixed bag with this one. I don't know if it's the pun in the title or the way the cliffhanger gets squandered or the fact that Locke's daddy issues don't really take any new turns, but this episode falls a little flat for me.

On the plus side, I appreciate the Henry/Locke dynamic that develops, first reluctantly and then blossoming into full-blown trust... until the end. And I also enjoyed the poker game and Jack and Kate's night conversation. We even get some new meta-plot clues (what's that ultraviolet map for? what does the question mark represent? who is dropping supplies?). Finally, the final reveal is well-played. [SPOILER ALERT] The balloon is there, but the grave isn't for Gale's wife. The body buried there belongs to a guy named Henry Gale! [END SPOILERS] Fade out.

On the negative side, the focus on Locke and Henry comes off as Keystone Cops-ish more than claustrophobic. Sure, I buy Locke injuring himself in his eagerness to escape. But stuff like the shelf collapsing... yeesh. I half expected Henry to keep stepping on rakes while he stumbled into the computer room. And Locke's interactions with his father didn't really expand much on the last few episodes. Worst of all, Katey Sagal was wasted, except for that moment at the end during the proposal. Anyone could have said no. But the expression on her face, that mix of pity and sadness, that was great.

I don't mind that the plot-heavy/thriller episodes need to alternate with character development episodes and quieter moments. But when those quieter episodes come up, I want them to actually tell me new things about characters. "Locke is searching for someone who'll stay with him" doesn't cut it.

Grade: B-

Other Comments:

• When Hurley said that the food in the hatch would only last a month for a single man 5 or 6 episodes ago, I wondered how Desmond and his partner had lasted as long as they did. Nice to know that wasn't an error.
• So, did all the Lost writers have daddy issues? Because, between Kate, Jack, Sun, and Locke, we already have a lot of explicitly bad fathers. And I'm not even counting the people whose fathers haven't shown up or are absent. And of course, Michael and Walt's relationship... blarg.
• I became kind of suspicious how Henry knew the numbers after being told once. I've got a pretty good memory, and I can never remember the sequence.
• Two con men in the Lost backstory. You know Locke's dad has to have run into Sawyer at some point. [Older Mr. K retroactive spoiler: Yup, I kinda called this one right. Emphasis on kinda.]

Quotes

- Jack: "When I want the guns, I'll get them."

- Anthony: "Two hundred thousand gets you a great honeymoon."

Locke: "I didn't do it for the money"

Anthony: "I guess some maid's going to get a helluva tip."

Sonic Weapon Fence actually does make a good name for a band

So that post below, the LOST recap, that is one of several orphans from when I planned to do this whole LOST recap-blog-a-thon, since there wasn't much dedicated coverage, episode-by-episode, on the AV Club or my favorite parts of the interweb.

I didn't follow through with the entire thing, but I did write up maybe five or six more episodes, which will also be posted here over the next couple of weeks.

Because (and I know, I'm burying the lede), I have both finished LOST up through season 5 AND just in time too. Season 6 starts February 2nd, and while I'm unsure if I'll be able to watch that night (it's complicated), I am impatient for the chance to see it.

And so my posting might be a little LOST-centric over the next couple of weeks remaining. I've got a LOST drinking game that I joked about on twitter, along with a couple of thoughts on what LOST means to me and TV going into a new decade. And maybe I'll watch the Rifftrax version of the LOST pilot.

Until then, listen to some Sonic Weapon Fence, who are a pretty good band for a novelty, tv-themed band and who I recommend over Previously on Lost.

"Wow, you guys have some real trust issues, don't you?": LOST, season 2, episode 16

"The Whole Truth"

Synopsis: Jin has grown overprotective of Sun following her near-abduction. Sun thinks she is pregnant. In flashback, we learn that Sun was learning English from her former "fiancee" while married to Jin, and that Jin is impotent. Meanwhile, in the present, Locke asks Ana Lucia to interrogate Henry Gale in hopes of finding out if he is an "Other".

Great, another Elizabeth Sarnoff-written episode. Or co-written, I should say. I have fond memories of her work on Deadwood, where she wrote "Amalgamations and Capital" and "Here Was a Man" (among others), in addition to co-producing the entire second season (the strongest season, I'd say).

And her work on "Abandoned" was quite good, finally giving Shannon (Maggie Grace's character) some interesting backstory that wasn't predicated around Boone's obsession with her or another character's tragedy. Of course, that was also the episode that killed off Shannon. So, plot-wise, a bit of a draw.

This season she also wrote "The Hunting Party", which was also good, though not quite as much of a stand-out. It was notable for giving us a Christian Shepard who was right and not responsible for what went wrong.

And now "The Whole Truth". This is an episode obsessed with the way people lie to others and deceive themselves and the difficulties they face in setting things right. Sometimes it can be funny, such as when Hurley gets caught with his private food stash while Sun is trying to covertly take a pregnancy test. Both fail to catch the other's suspicious actions as they try to conceal their own.

But it has much more serious consequences both individually and in the group. Our title for the recap comes from Henry Gale, but it echoes the comment that Libby said to Michael a couple episodes back about Ana Lucia and the rest of the Tailies. If Ana Lucia was complaining earlier about the camp being too trusting, they're now reversing courses, to their detriment.

Everyone's own lies and self-deceptions seem poised to endanger at least three of the survivors by the end. Jin and Sun's story resolves somewhat happily, with Jin accepting both that Sun is pregnant and that she has been faithful to him, whispering in awe that it is a miracle. And the Island is a place for miracles, it's true. On the other hand, that wonderful shot of Sun's lengthening expression as Jin holds her suggests this might just be another lie.

And as for dealing with Henry Gale, we get perhaps the most concrete expression of his possible malignity in this episode, but he is only as effective as he is because everyone else helps him.

Locke and Jack are now locked in mind games with each other. Locke brings Ana Lucia in to interrogate Henry, it seems, as much out of a desire to annoy Jack as to figure this out. And we're not sure if Jack is concerned for what Ana Lucia will do to Henry or what Henry will do to Ana Lucia.

For her part, Ana Lucia decides to resolve this simply, by just getting Henry to draw a map of where the balloon is. She sets out without telling Jack or Locke, presumably so she has an extra bargaining chip to draw Henry out with, or maybe just because she's afraid of Jack & Locke jumping to conclusions.

It makes less sense to me that Ana Lucia's group ends up being Sayid and Charlie. They are all united by their hatred of the Others. But needless to say, Ana Lucia and Sayid have plenty of reasons to distrust each other, while Ana Lucia seems a likely candidate to expose Charlie as the false Other attacker. When she stares at Charlie's profile, I worried that she might recognize the fabric of Charlie's clothes matching that of the cloth used to bind Sun. Instead, she just notices that Charlie's got a gun. Which, given the events of the previous few episodes and the current AWOL status of the gun cache, must certainly bring up some troubling questions for Sayid and Ana Lucia. But they don't get asked yet.

The problem doesn't end up being with the group, though. Because [SPOILER ALERT!] in a really nice final scene, when Locke and Jack decide to be nice to Henry by letting him out for breakfast, he reveals that he drew a map for Ana Lucia and speculates that, if he were one of the Others, he'd just draw a map to a place where the Others would be sure to ambush the survivors and trade for him. And then he asks for milk. FADE OUT.

This episode had a well-balanced mix of character moments and plot advancement. Jin and Sun were really the emotional heart of the episode, but I especially applaud the less-common character combinations that rubbed up against each other in awkward or tense ways. It is really easy to build chemistry or drama out of the same love triangles or friendships. But everyone is still living in the same small space and they have to work together on everything from picnic tables to exploration.

Episode Grade: A-

Other Thoughts

• I really like the way they establish Jin's own difficulty in, even at this point, understanding what everyone is saying: they blur the English into gibberish. This episode, he basically admits that everyone except Sun is an "other". It's suggested that he's holding onto Sun in part because she's the only one who understands him. What a scary thought, for him and her.
• I love the way that final moment is shot. It totally eschews the now cliche "look at what the other character is looking at, audience" shot that LOST uses way too much for commercial breaks, opening credits and cliffhangers. Just a brightly-lit, cheery room that we know isn't going to stay cheery for long.
• Sayid doesn't even want to admit the possibility that Henry is who he says he is. And even Ana Lucia is put off by that. That's not a good sign.
• It's a nice touch that Bernard and Rose, after being reunited, still have arguments. I'm glad they weren't tempted to let them be boring perfect people and write them out.
• Geronimo Jackson sighting: Locke looks at their album cover and record while talking with Jack.
• Speaking of Deadwood, good alternate title for this episode would be "A Lie Agreed Upon".

Quotes:

-"Locke and Jack are only thinking about Jack and Locke." - Ana Lucia

-Sun: [in Korean] "I love you."

Jin: [in English] "I love you."

- "Breakfast is ready! We've got papaya, papaya and papaya." - Charlie

So Rousseau, Hume and Locke land on an island...

So I've been watching a lot of Lost lately. As in, a season and a half in about a month.

And this is after having only ever seen ONE episode of the show somewhere in season 4.

I'm totally new (or was) to the show. I only knew the zeitgeist-y sort of scuttlebutt until recently: there are these people on an island, there's a smoke monster of some kind and polar bears, Michael Emerson is creepy, etc. And that a fake band named "Geronimo Jackson" showed up. But it wasn't until they put the first 4 seasons on Netflix Instant Viewing and I watched the pilot that I got hooked.

So I'm less of a Lost newbie now, but I think it holds together better in some ways, watching so much so close together. The callbacks and plot threads hold together better. It is rather well-plotted, the characters are well-drawn, and the cast is pretty solid. It might not be doing anything new per se, but the way it is combining a bunch of existing elements and ideas, both in terms of methods and themes, is interesting. Heck, even the way the show is peppered with allusions without getting pretentious with them is refreshing.

Of course, there are problems. It seems like sometimes people let stuff slide on the island faster than a real person would. Ten days after Locke gets Boone killed and lies to everyone, suddenly he's a trusted arbiter of whether Charlie is crazy or not? This is stuff that doesn't matter when you've got about a season separating these events. But when it ends up being separated by a few days (more similar to the way time is flowing on an the island), it kind of irks me.

But in some ways, it's like reading a serialized novel, like early Dickens. Over the next few days, I hope to post an entry or two about Lost up until where I am now (in the last few episodes of the second season). From then on, I intend to do TV Club-esque (a la the AV Club) entries episode by episode as I watch them, talking about themes, characters, and theories as I come across them. It should be amusing to see how much I miscalculate upcoming events, at the least. And heck, it seems like the AV Club's TV Club coverage doesn't really start 'til last season.

And I promise updates on some of the other stuff I've been promising along the way. Or at least to tie these entries into my pet causes. So, make your own kind of blogging/Blog your own kind of blog/ Even when nobody else blogs along!

Slightly better than "Surviving the Game", Not as fun as "Gymkata"

I should probably admit that I'm not that huge a Joss Whedon fan, despite the fact that, in theory, he's everything I like wrapped in one geeky package. Comic book fan? Check. Innovative twists on sci-fi and horror, which acknowledge and update trappings and gender roles? Check. Weird sense of humor? Check.

But I've only seen a few episodes of "Firefly" (which I liked), no Buffy or Angel at all. I've never read his run on X-Men, and I haven't watched "Dr. Horrible's Sing-Along-Blog". So keep that in mind when you get to the next part:

I think "Dollhouse" is okay. But I don't think it's going to be great as long as Eliza Dukshu's the lead.

The second episode just revealed the empress as naked, if you will. She's called upon to encounter different versions of herself during a drug-induced freakout. And my god, if it wasn't for the dialogue/costume cues, I wouldn't be able to tell which version was a mind-erased doll and which supposed to be a living being. Her only method for showing confusion is to walk in a weird stagger and shake her head from side to side.

I mean, I guess there might be some point to having someone as blank as Eliza Dushku play a character whose entire existence is projected onto her by other people. But I don't care about her plight or view her brainwashing as that bad a thing, which is incredibly problematic for this show.

And you know, when Harry Lennix is on screen, kicking butt and being morally troubled, or when Tahmoh Penikett's cute next door neighbor hits on him, or when the meta-plot is getting revealed, I'm engaged and enjoying myself.

But then Eliza Dushku is called upon to show some range and the show falls apart for me. My only hope is that Whedon has some master-stroke planned that is supposed to play off this. But so far, I'm a doubter.

I mean, when your "Most Dangerous Game" episode leaves me saying "eh", you should realize your show has a problem.