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.
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.
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.
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.
More “Not Boring” Than Usual:
Surprises Elevate the 2010 Primetime Emmys
As a whole, the Emmy Awards live and die on surprise: sure, there’s always favourites, but the idea that “anything can happen” is what keeps us watching a show which so often punishes us for becoming emotionally involved. For every pleasant surprise there has been soul-crushing complacency, and so we watch hoping that something will cut through the pain in order to give us some sense of hope for the legitimacy of these awards.
And while we eventually leave each evening lamenting numerous mistakes, comfortable in our superior knowledge of what is truly great in television in a given year, I don’t want that to obfuscate the moments of transcendence. Sometimes, moments come together that defy our cynical expectations, moments that find the spontaneity in the scripted or make the spontaneous feel as if it was planned all along. And while I remain the jaded critic that I was before the show began, any chance of carrying that attitude through the entirety of the show was diminished at the sight of Jon Hamm booty-dancing towards Betty White, and all but gone by the time Top Chef finally ended The Amazing Race’s reign of terror over Reality Competition program.
It was a night filled with surprises, whether in terms of who was winning the awards (with a huge number of first-time winners) or in terms of emotional moments which resulted from those winners – sure, there were hiccups along the way, and there were still a number of winners which indicated that the Emmys are still stuck in their ways, but there was enough excitement for me to designate these Emmys as “not boring.”
In fact, I’d go so far as to say they were more “not boring” than usual.
Outstanding Drama & Comedy Series
August 29th, 2010
Despite being the biggest awards of the evening, I’ll admit that this is one of my least favourite categories to analyze: yes, this is where things should become even more interesting, but more often than not this is where the complacent power of inertia kicks in worst of all. While a good actor being killed by a bad submission has nuance, and a great submission can truly change the nature of a category, there is a sense with the Series awards that the episodes themselves are more or less irrelevant. If they submit tapes that resemble the series’ cultural influence, then it will be enough to make this a race of hype vs. hype rather than actuall quality.
Of the legitimate competitors for these awards, there is nothing that would cause me to become outraged or anything – while there are certainly some contenders which I would prefer, it’s more a question of which series have the quality to go beyond the hype, and whether or not the voters will actually see through those layers to find the actual most outstanding series on television.
Lead Acting in a Drama Series
August 26th, 2010
The Lead Acting awards on the Drama side this year are polar opposites: one has a clear frontrunner and a slightly tired set of nominees, while the other category has a ridiculously packed lineup of potential winners where no clear frontrunner exists and where I’d be happy with anyone winning the trophy.