February 23rd, 2010
“I guess we weren’t looking for it…”
When Lost adds new elements to its world, acts of expansion that have been quite common early in the show’s sixth season, there’s always a question of why we’ve never seen it before. Why did they wait so long, for example, for us to meet Benjamin Linus, and why did we never learn about the Man in Black until the fifth season finale? They’re questions that have some merit, certainly, but which perhaps miss the point: the reality is that sometimes things sneak up on you, and things that have existed for centuries are only able to be found when you know where to look (and sometimes Michael Emerson blows away the producers and becomes part of the show’s expansion).
“Lighthouse” is a cross-reality investigation of this idea, of what people are able to “see” with the right information and how those viewpoints change those characters. For some, their perspective is clouded by an infection taking over their mind and body, while for others their perspective is clouded by a life filled with self-doubt and personal struggle. And while we’ve yet to be given the proper coordinates to full interested what the show’s flash-sideways structure represents, it continues to offer a unique perspective on who these characters could have been, which remains a compelling counterpoint to the characters they are and – perhaps more importantly – the characters they are destined, or not destined, to be.
“This is America or Fifty Bucks”
August 30th, 2009
More than any episode before it, “This is America or Fifty Bucks” lives and dies by the show’s timeliness in the midst of an economic crisis. With Jessica struggling to adapt to Ron’s newfound money problems, and Ray struggling to make money in order to rebuild his house, the show has always been dealing with the reality of the current economic situation.
But there has always been a problem central to Ray’s struggle: in dealing with such a high end prostitution ring, he’s trapped at a point where their clientele is shrinking. Lenore’s clients are rich women with no real sense of the value of money, but once you move beyond them we’re beginning to see the business of Happiness Consulting falling apart in the midst of these circumstances. In this week’s episode, we find both Ray and Jessica at a crossroads, and they find the exact same temptress waiting for them at the roadsign, beckoning towards a sense of luxury and self-worth while Tonya struggles to maintain a sense of normalcy in the midst of an almost absurd (when you step back) business relationship as best she can.
But America is changing, and normalcy is changing, and the status quo of the series is starting to fall out from underneath our characters as they start to fall in on one another – the result is a really intriguing leadup to the end of the show’s first season.
“Someone to Watch Over Me”
February 27th, 2009
For an episode driven by the power of melody to transcend minds and to bring people together, there was a return to a familiar rhythm to “Someone to Watch Over Me,” a return to form for Battlestar Galactica as it heads into its final three episodes. What’s been missing in the last few episodes is the sense that this is all coming together to add up to something, that what we’ve been seeing and the answers we’ve been searching for have been worth our time. While, perhaps, the content of “No Exit” or “Deadlock” will make a difference in the end, neither episode in and of itself added up to something profound, something progressive, or something that gives us some peace of mind that the show knows where its most powerful material lies as it heads towards its finale.
But this week this all changed under the guidance of Bradley Thompson and David Weddle, delivering their last episode with a deft sense of pacing and momentum. It is an episode that leans heavily on the past to demonstrate the power that it has over us, and then allows that to play out in the present in a way that is simultaneously revelatory and, more importantly, diversionary from the laidback, almost nonchalant path the show has been on since the end of the mutiny. The result is a clear path to the future, centering its storyline on the two major unanswered questions and using both of them to drive us into something approximating a climax. More importantly, though, the actions in the episode are ones which actually have broad implications for almost everyone: while the most recent drama has remained far too isolated to one side of humans and Cylons, here we finally have something that everyone can get really frakking pissed about.
And, well – finally.
November 18th, 2008
In a burst of inspiration over the weekend, I wrote a piece about the sort of transitional state of Fringe, a procedural series that people expect to offer heavily serialized content; it appears to have various states of being, and the confusion between them has kept me (to this point) from really becoming a fan of the show. Yes, there have been high points (“The Observer” has got to be on everyone’s list), but the uneven nature of the show’s opening episodes have made falling in love with Fringe a problematic scenario.
No longer, however – “The Equation” was maybe the show’s best episode yet, one which felt less contrived (if not entirely organic) and infinitely more personal than most of what we’ve seen so far. Much as “The Observer” delved deeper into Walter and Peter’s personal lives in search of an answer to a question about the Pattern and how it operates, “The Equation” takes Walter back to his time at St. Claire’s Hospital and it send us on a creepy and atmospheric journey into a quest to solve the end of an unsolvable equation.
Yes, the show still feels a bit like a low stakes Alias at points, but this episode combined some of the most interesting qualities of Alias’ mythology while focusing on the dramatic pathos of the right character at the right time. I’m not quite ready to see it as a trend, perhaps, but I was enraptured and hooked on tonight’s episode and, well, might just now call myself a fan.