Lost – “House of the Rising Sun”

losttitle3“House of the Rising Sun”

Aired: October 27, 2004

[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost tomorrow—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]

Whereas Jack’s flashback in “White Rabbit” leaves out huge swaths of his life, narrowing in on one part of his identity in his relationship with his father and not even offering insight into decades of that relationship, Jin and Sun’s flashback in “House of the Rising Sun” is a fairly complete narrative. We don’t see the moment they meet, sure, and there are large narrative gaps (captured with elegant efficiency by the age of the dog) that pose questions, but there is a clear certainty to this story that makes it among the most effective flashbacks in the series’ run.

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Lost – “White Rabbit”

losttitle3“White Rabbit”

Aired: October 20, 2004

[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost this Wednesday—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]

“White Rabbit” is the first of what will be many Jack stories, all about a character that doesn’t come with any inherent mysteries. When we meet Jack, he’s centered, focused, and stepping into the role of a natural leader. Whereas other characters are begging to be explored in more detail, an investigation into Jack’s past is less designed to answer a question and more designed to pose one. You thought Jack was a well-balanced individual? Well, guess what: he’s got daddy issues.

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Lost – “Walkabout”

losttitle3“Walkabout”

Aired: October 13, 2004

[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost next Wednesday—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]

There is no more iconic flashback than “Walkabout.” It was the flashback that showed what the flashbacks could do, the first sign that something supernatural didn’t need to mean something destructive, and a tour de force performance from Terry O’Quinn.

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Lost – “Tabula Rasa”

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“Tabula Rasa”

Aired: October 6, 2004

[I’m going to be taking over The A.V. Club’s TV Club Classic reviews of Lost next Wednesday—in preparation, I’m offering some short thoughts on each of the episodes Todd VanDerWerff already covered at the site.]

On the one hand, the second-pilot-syndrome in “Tabula Rasa” seems to fly in the face of our conception of Lost as a highly serialized show. In the context of the mythology-heavy show it became, the idea that it would so pander to the idea any viewer tuning into this episode would have no idea what happened in the previous episode is absurd, particular when it’s now watched in a binge-viewing environment where it’s likely someone has just watched the pilot.

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Lost – “Pilot”

losttitle3“Pilot”

Aired: September 22, 2004/September 29, 2004

It seems probable that I revisited parts of the first season of Lost back in 2005, when I received the first season on DVD for Christmas. I have a distinct memory of watching some of the DVD bonus features, at the very least. But as life and the show grew more complicated, time grew shorter, and I’ve never revisited the show in any detail since despite writing about Seasons 3-6 in some detail here at the blog.

This is changing now that I’m stepping in to take on The A.V. Club’s TV Club Classic coverage of Lost’s first season this summer following the exit of esteemed former editor—and a big part of how I got into this episodic television criticism racket—Todd VanDerWerff. He’s completed coverage of the first six episodes of the season, and I’ll be stepping in to handle the rest, but in part for the sake of my own momentum and also to offer some perspective, I wanted to write at least some brief thoughts as I work my way through the episodes leading up to “The Moth” and “Confidence Man” next week.

And while I suggest above that I haven’t rewatched Lost, that doesn’t mean that there aren’t specific episodes—like “The Constant,” which is what Netflix told me was the last episode I’d watched—that I’ve revisited over the years. The “Pilot” is foremost among those, one of those episodes of television that I could recount almost beat-for-beat. It’s strikingly familiar, which is exactly why it’s so interesting to revisit it while knowing you’re about to embark on the journey of writing about the first season of the show while most viewers are still caught up in its sixth.

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Heart-Shaped Hole: Game of Thrones Season 4 and the Death of Reader Certainty

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Season 4 and the Death of Reader Certainty

June 15, 2014

Here at Cultural Learnings, I’ve been writing Game of Thrones reviews intended to be read by both those who have and haven’t read the books, but they’re unavoidably written from the perspective as someone who has. For the most part, this hasn’t been a big problem, as I’ve never been one to be too concerned with the series deviates from the books.

I remain mostly nonplussed by changes, but they’re tougher to avoid after a fourth season that has shot the books full of holes on numerous occasions. Although the season by and large ended without an outright cliffhanger in “The Children” (which I reviewed in full here), it nonetheless has left book readers in limbo when it comes to at least one major development. It’s an important turning point for the series as an adaptation, and one that will test whether or not those book readers are willing to embrace an environment where the books are no longer a reliable indicator for the story about to unfold, and where their position as arbiters of knowledge is in question.

[Warning: I’m speaking to Book Readers here, so unless you want to risk spoilers for future seasons, stay away if you haven’t read the books.]

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Season Finale: Game of Thrones – “The Children”

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“The Children”

June 15, 2014

“You remember where the heart is?”

Each season of Game of Thrones has been an exercise in selective adaptation, but its fourth season has been a feat of adaptive engineering. Working primarily with material from the third book but leaning heavily on the fourth and fifth in certain storylines, it is the season that has emphatically taken the “book-to-season” adaptation comparison off the table.

At the same time, though, the season has been organized around key climaxes taken directly from the third book in the series. Moreso than in other seasons, you could tell the writers were having to stretch storylines to maintain the timing they had established, creating material to flesh out the scenes on The Wall to justify the Battle of Castle Black taking place in episode nine or finding things for Arya and the Hound to do so that their scenes in “The Children” wouldn’t take place until the end of the season.

By and large, I would argue the show was successful in making the season work despite the delaying tactics. This is in part because the storyline in King’s Landing, arguably the most consistently substantial, was built for this timeline, clearly marked by two major events—the Purple Wedding and the Mountain vs. the Viper—with plenty of political intrigue in between. The other reason is that even if the material at the Wall was a bit thin in ways that even last week’s epic showdown couldn’t make up for, the season as a whole maintained a sense of forward momentum. Did this momentum extend to Bran, forgotten for multiple episodes, or to Stannis and Davos’ trip to Braavos? No. But it extended to pretty much every other storyline, and makes “The Children” the most climactic finale the series has managed yet. The inconclusiveness of “The Watchers On The Wall” may have been frustrating, but it guaranteed that there was still lots to resolve even for those of us who aren’t sitting at home with checklists of what’s “supposed” to happen in the episode.

And “The Children” resolved some of it, left some of it untouched, and by and large served as one big—and mostly effective—teaser for what’s to come.

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