Aired: March 23rd, 2010
[Cultural Learnings’ Top 10 Episodes of 2010 are in no particular order, and are purely subjective – for more information, and the complete list as it goes up, click here.]
Last year, in making a similar list, I put Battlestar Galactica’s “Daybreak” on it, and as one would expect it proved somewhat divisive. The fact of the matter is that I loved the poetry of the BSG finale while acknowledging some of its shortcuts, and in many ways the controversy surrounding it only made it more likely to find its way onto a list like this one; my investment becomes stronger when I feel as if there is a groundswell to reject the finale entirely based largely on principles of television viewership which I don’t entirely understand. This is not to say that I start a crusade to change their minds, but rather that I become very interested in discovering where they’re coming from.
It’s almost scary how much of a carbon copy the reaction to “The End” has been for me. Last week, when Dan Harmon snuck in a dig at Lost’s sense of “payoff” in the Community Christmas episode, watching my Twitter feed’s reaction was a microcosm of larger opinions: some laughed along, the joke confirming their pre-existing dismissal of Lost’s conclusion, while others became legitimately angry at the off-hand dig. Personally, I laughed, but only because I don’t feel as if I am particularly defensive of “The End” (even if I totally understand why some people are).
I loved “The End,” which should be obvious considering that it’s on this list, but I love the fact that people hated it perhaps even more. I think that Lost, as a television series, will be remembered not so much for its story but for how its story was told; as a fan, this disappoints me, but as a critic and scholar it makes the series’ legacy far more important to the future of television. “The End” was a finale that was never going to please everyone, and so Lindelof and Cuse’s decision to not even bother trying was admirable, reckless, and ultimately one of the most affecting episodes of television of the past year.
Official Ballot Miscellany
June 4th, 2010
Earlier this evening, Emmy voting officially began; this isn’t particularly important to us non-voters, but it does mean that the official ballots were released (PDFs: Performers, Writing, Directing), which means that we know who submitted their names for Emmy contention and can thus make our predictions accordingly. In some cases, this simply confirms our earlier submissions regarding particularly categories, while in other cases it throws our expectations for a loop as frontrunners or contenders don’t end up submitting at all.
For example, Cherry Jones (who last year won for her work on 24) chose not to submit her name for contention this year, a decision which seems somewhat bizarre and is currently being speculatively explained by her unhappiness with her character’s direction in the show’s final season. It completely changes the anatomy of that race, removing a potential frontrunner and clearing the way for some new contenders (or, perhaps, another actress from Grey’s Anatomy). Either way, it’s a real shakeup, so it makes this period particularly interesting.
I will speak a bit about some surprising omissions and inclusions in the categories I’ve already covered this week, but I want to focus on the categories that I haven’t discussed yet, including the guest acting categories, writing, and direction, which are some interesting races this year.
In Defence of “Exposé”
May 21st, 2010
As we come to the end of Lost’s run, people like to write lists: most of these lists will feature “Favourite” characters, episodes or scenes over the past six seasons, but there’s a chance that many of them will focus on the “Worst” of the same. I don’t know if I’m really up for making lists of my own (especially since I put together my own list of important episodes before Season 6 began), but I do want to say one thing:
If I see “Exposé” on a single “Worst Episode” list [like this one, which is even more despicable since it uses “Pointless”], I am going to be incredibly angry.
I may not have loved the episode initially (my “review” from three years ago is a little all over the map), so I can’t say I’ve always held this belief, but over time I have become part of the minority who feel that “Exposé” was an intriguing episode which successfully made lemons out of lemonade. While there are bad episodes of Lost (see: “Stranger in a Strange Land”) which in their failures elucidate some of the show’s growing pains at various points within its narrative, “Exposé” is precisely the opposite: it is a confident hour of television, entirely sure of its function of bringing to a close an intriguing, if failed, experiment in the series’ narrative in a meaningful and memorable fashion.
As Lost has continued, and we’ve learned more about the island and the central themes to the series, I’ve become convinced that there is no way anyone could argue that “Exposé” is not a pivotal episode in the series’ development. Whether you choose to view it as hidden foreshadowing or (more likely) as successful retroactive storytelling, the episode captures in a single episode the complex morality plays which have been unfolding for six seasons, crafting a compelling standalone narrative that we can now see as a microcosm for the series’ larger conflicts.
In other words, I’m tired of the haters, and I’m here to tell you why.
Critics Ponder “What They Died For”
May 19th, 2010
Trapped between perhaps the most divisive episode in the show’s history and a sprawling two and a half hour finale shrouded in mystery, “What They Died For” is a bit tough to “criticize.” Generally speaking, the episode was dramatically strong and effective at providing momentum heading into the finale, but with no guarantees that the payoff will live up to our expectations there is this sense of uncertainty which means that this weeks reviews from critics are sort of hedging their bets.
Normally, you might claim this is in some way counterproductive, but it means that critics are focused on making connections to past episodes and offering their own takes on how the developments in this episode apply to larger ideas within Lost as a whole. It makes for another strong week of Lost criticism, as the setup work done in “What They Died For” is mirrored by critics setting up their own perspectives on the series as we head into Sunday’s finale.
So, let’s take a journey around the internet to see what the critics are saying, shall we?
“What They Died For”
May 18, 2010
“I think you’re mistaking coincidence for fate.”
[For more analysis of this week’s penultimate episode of Lost, check out my roundup of Critics’ commentary from across the web.]
Earlier today, TV scholar Jason Mittell wrote a rather fantastic analysis of the variety of different types of questions floating around as Lost comes to an end, nicely capturing the ways in which categorizing the questions helps us outline our own “priorities.” Say what you will about “Across the Sea” (as I, or the critics, did), but it has certainly forced Lost’s active audience to consider which questions matter most at this late stage in the series – rather than forcing us to see things a certain way, the episode forced us to see things of our own choosing, things which help form our personal view of the series heading into its conclusion.
When the episode was labeled as “divisive,” it’s easy to presume that the division lies between those who liked it and those who hated it, but the divisions go much deeper than that. The discussion of the episode brought to light how each individual viewer (rather than “groups” of viewers who we bundle into particular categories) has viewed the series thus far, and in doing so led them to the variety of questions which Mittell classifies; rather than eliding these sorts of big questions or attempting to lead viewers in a certain direction, Lindelof and Cuse sat their audience down by the fire and told them that they had a choice to see this show in whichever way they wanted to going into these final episodes, and they have been more than willing to take the criticism and praise found in the questions that viewers have been asking in the past week.
I make this point because “What They Died For” is all about human agency, about how and why we make choices and what it is that pushes us to do things which may seem morally reprehensible or potentially dangerous. The episode is an important connecting point between the show’s two realities, emphasizing the ways in which choices – and the trust implicit or explicit to those choices – shape both the show and its characters on the island and within the newly introduced sideways stories. By putting to rest any doubts about the position of free will within the series, one can’t help but feel that the show is also empowering its audience to enjoy the same type of agency as we head into the finale, picking up on the spirit (if not necessarily the content) of last week’s divisive episode.
And I, speaking entirely personally, think it worked really well, but I think we’re to the point where saying this objectively may be going against the point of it all.