The column for The End has let go for your reading pleasure on Chud.com.
It's been an honor and a privilege, everyone. I hope it's enjoyed.
Showing posts with label Season 6. Show all posts
Showing posts with label Season 6. Show all posts
Wednesday, June 2
The End (S6, eps. 17 & 18)
The column for The End has let go for your reading pleasure on Chud.com.
It's been an honor and a privilege, everyone. I hope it's enjoyed.
Thursday, May 27
Your Back to the Island Teaser Quotation for The End
“Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the “Oh how banal.” To risk accusations of sentimentality, melodrama. Of overcredulity. Of softness.” – David Foster Wallace, E Unibus Plurum
Monday, May 24
Lost: Season 6, eps. 17 & 18 (and then some) Discussion
Update:
I've started work on the column for The End. While I'm trying to include as much in the way of "summarization of concepts" as possible from the run of this column and the show, it's going to be a highly-truncated version by dint of the fact that I could easily write a treatise on this stuff large enough to tear a hole in the fabric of space/time/Chud. If you're interested in delving even deeper into the "meaning" of The End, and into the kinds of themes, allusions, references and overarcing subtextual stuff that makes this show so much fun for some of us, you should consider shooting me an email (WhatIsWater@gmail.com) and signing up for my Back to the Island mailing list.
You'll get information on the progress of Back to the Island: The Book, as well as sneak peeks (including sections of the text as it evolves and stuff like the now-in-progress cover design which, thanks to the volunteer efforts of one of the column's readers, promises to be awesome) and the opportunity to influence the book's content through your votes, among other things. There is no obligation to buy, as the infomercial said to the overeager consumer. If you've enjoyed these columns and you'd like to show your support for them/me, please consider signing up.
Instareaction:
Communion. Community. Communication. Connection.
Lost ended as it began - with a disparate group of wounded individuals finding their meaning in one another. As Christian Shephard flung wide the doors and in poured the Light, I felt filled with the same Oceanic sensation that united them beyond death. I've never been much of a television person overall, so maybe this feeling is typical to finales. I wouldn't know. What I do know is that this episode/these episodes was/were everything I wanted it/them to be.
To see Hurley assume the Island role and ask Ben to help guide him moved my soul. To watch the Castaways connect and draw closer to rising, to converging, gladdened my heart. To witness Jack and Anti-Locke in mortal combat as the Island shook around them thrilled the blood. To hear the awe in Richard's voice when he regained his mortality made me smile in it's quiet, obvious wisdom.
I could do this all night - name moment after moment and attach superlatives - but I sort of want to bask in the afterglow of this. I want to let the image of the stained glass with it's panoply if religious symbols float in my brain for a bit. I want to recall Ben's sad/happy, sorry/grateful talk with John outside the church, and John's beneficent forgiveness. I want to savor the fact that it's Kate who finally lands the killing blow against Anti-Locke, a mother protecting the cause of life against death (with a killer one liner no less). I want to savor Jin and Sun and Charlie and Claire and Kate and Jack and Sawyer and Juliet (!) as they awaken.
I'm doing it again. I want to know if this moved you as it moved me. I want to know what your thoughts and feelings, comments and criticisms are, directly following The End. Let me know in the comments, and let me know if you're free Thursday night, for another Lost get-together. Thanks for reading, and Namaste.
Original Post:
Discuss here. I've been stuck on an airplane for 8 hours, so I haven't had time to write up a proper intro for this post. Really though, what can I say that hasn't been so wonderfully well-expressed by all of you over the past week. I hope it's enjoyed by all of us, and I hope you'll grace me with your thoughts, comments and reactions after The End ends.
Best,
MMorse
I've started work on the column for The End. While I'm trying to include as much in the way of "summarization of concepts" as possible from the run of this column and the show, it's going to be a highly-truncated version by dint of the fact that I could easily write a treatise on this stuff large enough to tear a hole in the fabric of space/time/Chud. If you're interested in delving even deeper into the "meaning" of The End, and into the kinds of themes, allusions, references and overarcing subtextual stuff that makes this show so much fun for some of us, you should consider shooting me an email (WhatIsWater@gmail.com) and signing up for my Back to the Island mailing list.
You'll get information on the progress of Back to the Island: The Book, as well as sneak peeks (including sections of the text as it evolves and stuff like the now-in-progress cover design which, thanks to the volunteer efforts of one of the column's readers, promises to be awesome) and the opportunity to influence the book's content through your votes, among other things. There is no obligation to buy, as the infomercial said to the overeager consumer. If you've enjoyed these columns and you'd like to show your support for them/me, please consider signing up.
Instareaction:
Communion. Community. Communication. Connection.
Lost ended as it began - with a disparate group of wounded individuals finding their meaning in one another. As Christian Shephard flung wide the doors and in poured the Light, I felt filled with the same Oceanic sensation that united them beyond death. I've never been much of a television person overall, so maybe this feeling is typical to finales. I wouldn't know. What I do know is that this episode/these episodes was/were everything I wanted it/them to be.
To see Hurley assume the Island role and ask Ben to help guide him moved my soul. To watch the Castaways connect and draw closer to rising, to converging, gladdened my heart. To witness Jack and Anti-Locke in mortal combat as the Island shook around them thrilled the blood. To hear the awe in Richard's voice when he regained his mortality made me smile in it's quiet, obvious wisdom.
I could do this all night - name moment after moment and attach superlatives - but I sort of want to bask in the afterglow of this. I want to let the image of the stained glass with it's panoply if religious symbols float in my brain for a bit. I want to recall Ben's sad/happy, sorry/grateful talk with John outside the church, and John's beneficent forgiveness. I want to savor the fact that it's Kate who finally lands the killing blow against Anti-Locke, a mother protecting the cause of life against death (with a killer one liner no less). I want to savor Jin and Sun and Charlie and Claire and Kate and Jack and Sawyer and Juliet (!) as they awaken.
I'm doing it again. I want to know if this moved you as it moved me. I want to know what your thoughts and feelings, comments and criticisms are, directly following The End. Let me know in the comments, and let me know if you're free Thursday night, for another Lost get-together. Thanks for reading, and Namaste.
Original Post:
Discuss here. I've been stuck on an airplane for 8 hours, so I haven't had time to write up a proper intro for this post. Really though, what can I say that hasn't been so wonderfully well-expressed by all of you over the past week. I hope it's enjoyed by all of us, and I hope you'll grace me with your thoughts, comments and reactions after The End ends.
Best,
MMorse
Friday, May 21
What They Died For (S6, ep. 16)
The Back to the Island column for What They Died For has been given vague, magical, Island-protecting powers for your reading pleasure on Chud.com.
Thursday, May 20
Your Back to the Island Teaser Quotation
Good morning, everyone. I'm going to be away for the day taking care of some personal stuff (and because of this I'm afraid I'm going to have to miss the Times Talks simulcast tonight - my sincere thanks to Gravyboat for the invite, and my sincere apologies for having to bow out) but before I vamoose I wanted to give you a teaser quote for tomorrow's installment of Back to the Island. I loved "What They Died For," even moreso the second time through. I think that'll come through in the final column, which will post tomorrow as usual. Have a great day, take care of one another, and thanks once again for reading.
"Most of us have learned to be dispassionate about evil, to look it in the face and find, as often as not, our own grinning reflections with which we do not argue, but good is another matter. Few have stared at that long enough to accept that its face too is grotesque, that in us the good is something under construction. The modes of evil usually receive worthy expression. The modes of good have to be satisfied with a cliché or a smoothing down that will soften their real look.” – Flannery O’Connor, Mystery and Manners: Occasional Prose
"Most of us have learned to be dispassionate about evil, to look it in the face and find, as often as not, our own grinning reflections with which we do not argue, but good is another matter. Few have stared at that long enough to accept that its face too is grotesque, that in us the good is something under construction. The modes of evil usually receive worthy expression. The modes of good have to be satisfied with a cliché or a smoothing down that will soften their real look.” – Flannery O’Connor, Mystery and Manners: Occasional Prose
Wednesday, May 19
Lost: Season 6, ep. 16 Discussion
Instareaction (updated further below):
Spoilers ahoy.
We all knew it was coming, that Jack would take this step. In the end, the decision and what followed felt spare and quiet - a foregone conclusion rendered poetic in it's unavoidability. This is a point that the whole show has been building toward - a point wherein, depending on your point of view, Jack's need to fix things either transcends it's often-petty, daddy-issue-driven origins or succumbs completely to them.
What They Died For was a return to the edge-of-my-seat Lost I was hoping for. It gave us Answers, it gave us deeply character-rooted emotion, it gave us (at times on the nose) dialogue that confirmed Jacob's essential standing as the god of the Island, thematically speaking. It also confirmed some of my and your speculation from last week - that Jacob wanted to give these people a choice, because he never had one (and I like that he seems to believe this, yet has no problem with them having been brought to the Island), that only someone "like" Jacob can find the heart of the Island, that the Man in Black wants to return to the Light.
All of that and I haven't even gotten to Ben, who finally faces Widmore in what might have been great, but is instead really good, or the fact of this curiously-scrubbed Rousseau, or of Desmond's beating of Ben and the accompanying flashes, and of Ben's seeming turn back to the dark side which looks much like a suicide run. And what about Off-Island Locke's change of heart, and the prospect of Jack operating on him during the final episode? I haven't touched on Desmond, and how he's now Sheperding these Castaways toward some specific task, or how his dismissal of Ana Lucia ("She's not ready yet.") indicates that there's something here to the ideas of reincarnation and second chances that have been Second Snaking their way through these columns. And what about Richard? Is that it? Somehow I doubt it.
What I liked most about this episode of Lost was how it knocked away the most pressing pieces of character mythology and left us with 2 1/2 hours of television left to go. We know exactly what these people are fighting for now, and we know exactly what Anti-Locke really wants (we've suspected this part for a while). What the heck happens now? Presumably, Off-Island Jack is going to need to make a fateful choice after he and Locke remember their Island narratives. Desmond will descend into the Island's Underworld, perhaps acting exactly as Anti-Locke is hoping he will. Enough of this. Point is, I liked it. Can't wait to watch it again.
Terrific stuff. Finding it hard to concentrate. Perfect time to start writing, then. What did you think?
Edited to add:
I woke up this morning even more charged up about this episode. Everything about it - the surprisingly large amounts of jet-black humor, the suspense, the Answers given, the steps taken - feels correct, feels purposeful and moving and definitive and yet still-mysterious in so many ways. I love that there's every possibility that Jack can die now, since we've finally seen him take up the mantle. I love the possibility that Jack might decide to make his fellow Castaways protectors as well, turning the job of Jacob into a communal position. Most of all, I love the sense of open-ended possibility that this episode left us with. We're more sure than ever of what, generally, will be happening in the finale and yet we're also less sure then ever of how it will all play out. Glorious, I say.
....But that freaky, Willow-ish old lady who narrated the end-episode teaser? What in the heck was that about, ABC? Really? You go with what sounds like the voice of a 1,000 year-old dwarf grandmother who lives under a magical toadstool?
Original Post:
I have it on good authority that tonight's episode is very, very good.
Will that be enough to wash the sour taste of Across the Sea out of some folks' mouths? To be honest, I don't find that question very interesting. Having written way too much about last week's divisive episode I've found myself in a nice, comfy place about it and I cannot wait to jump back into the main storyline with the surviving (sadface) Castaways.
Yet, I can also easily wait. I sort of want to wait forever. I'm at the point now that I always arrive at when I read something I love - if the book is good, really really good, then I almost always stop with around 100 pages to go and take some time off. I don't like it when good things end, even if that ending is also a good thing.
I'll be back in here after the episode airs with a very brief InstaReaction. My week is time-crunched up the wazoo on Thursday and Friday, so in order to get the column to you by week's end I'll need to jump right into it.
Enjoy the show!
Spoilers ahoy.
We all knew it was coming, that Jack would take this step. In the end, the decision and what followed felt spare and quiet - a foregone conclusion rendered poetic in it's unavoidability. This is a point that the whole show has been building toward - a point wherein, depending on your point of view, Jack's need to fix things either transcends it's often-petty, daddy-issue-driven origins or succumbs completely to them.
What They Died For was a return to the edge-of-my-seat Lost I was hoping for. It gave us Answers, it gave us deeply character-rooted emotion, it gave us (at times on the nose) dialogue that confirmed Jacob's essential standing as the god of the Island, thematically speaking. It also confirmed some of my and your speculation from last week - that Jacob wanted to give these people a choice, because he never had one (and I like that he seems to believe this, yet has no problem with them having been brought to the Island), that only someone "like" Jacob can find the heart of the Island, that the Man in Black wants to return to the Light.
All of that and I haven't even gotten to Ben, who finally faces Widmore in what might have been great, but is instead really good, or the fact of this curiously-scrubbed Rousseau, or of Desmond's beating of Ben and the accompanying flashes, and of Ben's seeming turn back to the dark side which looks much like a suicide run. And what about Off-Island Locke's change of heart, and the prospect of Jack operating on him during the final episode? I haven't touched on Desmond, and how he's now Sheperding these Castaways toward some specific task, or how his dismissal of Ana Lucia ("She's not ready yet.") indicates that there's something here to the ideas of reincarnation and second chances that have been Second Snaking their way through these columns. And what about Richard? Is that it? Somehow I doubt it.
What I liked most about this episode of Lost was how it knocked away the most pressing pieces of character mythology and left us with 2 1/2 hours of television left to go. We know exactly what these people are fighting for now, and we know exactly what Anti-Locke really wants (we've suspected this part for a while). What the heck happens now? Presumably, Off-Island Jack is going to need to make a fateful choice after he and Locke remember their Island narratives. Desmond will descend into the Island's Underworld, perhaps acting exactly as Anti-Locke is hoping he will. Enough of this. Point is, I liked it. Can't wait to watch it again.
Terrific stuff. Finding it hard to concentrate. Perfect time to start writing, then. What did you think?
Edited to add:
I woke up this morning even more charged up about this episode. Everything about it - the surprisingly large amounts of jet-black humor, the suspense, the Answers given, the steps taken - feels correct, feels purposeful and moving and definitive and yet still-mysterious in so many ways. I love that there's every possibility that Jack can die now, since we've finally seen him take up the mantle. I love the possibility that Jack might decide to make his fellow Castaways protectors as well, turning the job of Jacob into a communal position. Most of all, I love the sense of open-ended possibility that this episode left us with. We're more sure than ever of what, generally, will be happening in the finale and yet we're also less sure then ever of how it will all play out. Glorious, I say.
....But that freaky, Willow-ish old lady who narrated the end-episode teaser? What in the heck was that about, ABC? Really? You go with what sounds like the voice of a 1,000 year-old dwarf grandmother who lives under a magical toadstool?
Original Post:
I have it on good authority that tonight's episode is very, very good.
Will that be enough to wash the sour taste of Across the Sea out of some folks' mouths? To be honest, I don't find that question very interesting. Having written way too much about last week's divisive episode I've found myself in a nice, comfy place about it and I cannot wait to jump back into the main storyline with the surviving (sadface) Castaways.
Yet, I can also easily wait. I sort of want to wait forever. I'm at the point now that I always arrive at when I read something I love - if the book is good, really really good, then I almost always stop with around 100 pages to go and take some time off. I don't like it when good things end, even if that ending is also a good thing.
I'll be back in here after the episode airs with a very brief InstaReaction. My week is time-crunched up the wazoo on Thursday and Friday, so in order to get the column to you by week's end I'll need to jump right into it.
Enjoy the show!
Friday, May 14
Across the Sea (S6, ep. 15)
The Back to the Island column for Across the Sea has been Smokified for your reading pleasure on Chud.com.
Wednesday, May 12
Lost: Season 6, Episode 15 Discussion
InstaReaction:
Apologies for the lateness of this "Instareaction." After the show ended I was sort of stunned, in ways both good and bad. I had no idea how to begin writing about this episode. On the one hand, there was a lot to like - Titus Weliver proved to be another of Lost's smart casting decisions. His performance was worth the price of admission. I genuinely loved the sense of uncertainty that surrounded Alison Janneymom's character, and I think that continuing the theme of Island protectors who don't seem to truly understand what they're protecting, or why, is a fascinating one. Many of the individual scenes were captivating, and yet, at the same time, if I'm being honest, I'm sort of cool on it as a whole. Part of this is due to my own overinflated expectations. I was expecting a LOT of Across the Sea, and that's not the show's fault.
Most of the problems I have with the episode involve unanswered questions. Is the Smoke Monster actually Jacob's (still unnamed! What's up with that?) brother? Is what was released by The Man With No Name's body the embodiment of "pure evil"? If so, why can't Smokey hurt Jacob? Is Smokey "bonded" with the MiB? It has to be that the MiB's trip down the "rabbit hole" results in his being replaced/fused with something dark/evil by passing into the light. Otherwise, to be honest, I don't have much of a problem with the MiB leaving the Island. I mean, his mother was murdered, he was lied to, and when he tried to escape he got beaned in the back of the head with solid rock.
And what's with that claim anyway? Why can't they hurt each other? I assume "hurt" actually means "kill," since we see Jacob knock the snot out of his lil bro twice. Unnamed Alison Janneymom gave Jacob wine from the same bottle that Jacob used to give Richard wine. Does that mean the wine is responsible for immortality, and not Jacob's touch? I could go on, but then what would I write about for Friday? Unanswered questions are a problem I can deal with, and it makes the prospect of writing this week's column both exciting and very, very daunting.
I can't lie - some of my problems came from what seemed to be real problems in the story - how does "mom" manage to slaughter an entire village and burn it to the ground? Does she command Smokey? How did she cave the well in? Smokey? Did we really need to see heavy-handed flashbacks to Season 1 in order to figure out who Adam and Eve were? Why hasn't anyone else on the Island stumbled over the Big Glowing Hole In The Ground? For that matter, why couldn't the MiB find it again? Wait 'til dark, then walk around looking for the spot where eerie golden light is spilling from the ground. And was Alison Janney's essential Alison Janneyness distracting for anyone else? For as much as I loved seeing glimpses of the early civilization on the Island, I can't help feeling as though there were missed opportunities here, and that some aspects of the show (the look of it, the costuming, and the ham-handedness of some of the exposition) simply don't rise to the same level of realism and subtlety that Ab Aeterno did.
For all of that complaining and kvetching though, I didn't hate the episode. I'm just having an honestly-mixed reaction and, lucky you, you get to experience my reservations through the power of the internet. One of my much-appreciated Twitter peeps made the observation that this episode should have been the Season opener. I sort of agree in that I think I'd feel kinder to it if it had come, say, directly after The Substitute. In fact, in the future I think that's where I'll choose to re-slot this installment. It fits in perfectly there.
To sum up: I liked much about the episode's themes, it's ambition and it's seemingly-purposefully-veiled mythology. I had trouble with what felt like stilted acting in places, some clunky exposition, and the sense of ongoing confusion that resulted by episode's end. I'm looking forward to talking about this one tonight with some of you down at Professor Thom's (2nd Ave btwn 13th and 14th streets @ 7 pm), and to (drunkenly) rewatching it afterward, because I think there's a lot to chew on here and because I'm frankly hoping that it'll work better for me on the second go-round. This is without a doubt the single most divisive episode of Lost. I'm still on-board for the rest of the ride. Unlike some of my more hyperbolic colleagues, I didn't hate the episode and I don't think Lost has jumped the shark/sh*t the bed/pulled an "Episode 1"/whathaveyou - but for the first time this season since Recon I'm surprisingly underwhelmed.
Let's see what happens when I watch it again. Your thoughts?
Original Post:
"Somewhere, beyond the sea
Somewhere waitin’ for me...
My lover stands on golden sands
And watches the ships that go sailin’.
Somewhere, beyond the sea
She's there watchin’ for me...
If I could fly like birds on high
Then straight to her arms I’d go sailin’.
It's far beyond the stars
It's near beyond the moon
I know beyond a doubt
My heart will lead me there soon."
- Beyond The Sea, Charles Trenet/Jack Lawrence
Tonight brings to us "Across the Sea," the third-to-last episode of Lost. It's strange to type that.
The title of tonight's installment recalls the title of "Beyond the Sea," the timeless standard that's been interpreted by the likes of Bobby Darin and Frank Sinatra, and which was featured (in French!) back in Season 1 of the show.
What can we expect? Well, for one, we can expect not to see much (if anything) of the show's regular cast. We can expect some of our questions about the Island, its history and its mysteries, to be highlighted. We can expect a very special, very surprising guest-star. And we can expect Titus Welliver and Mark Pelligrino to deliver on the acting front.
If you're clueless about the subject matter of this installment I'm not going to spoil things for you any more than that. All I'll say is that this is the episode I've been waiting all season for, . I'll be back here after the episode airs on the East Coast to give my InstaReaction, and I'll have, I think, plenty to say about it at that point. If you're in the NYC area tomorrow night (Wednesday, May 12th), come by Professor Thom's at 7 pm. I'll be there with my purple baseball cap on, sipping a beer and looking forward to hearing your thoughts on this one.
Apologies for the lateness of this "Instareaction." After the show ended I was sort of stunned, in ways both good and bad. I had no idea how to begin writing about this episode. On the one hand, there was a lot to like - Titus Weliver proved to be another of Lost's smart casting decisions. His performance was worth the price of admission. I genuinely loved the sense of uncertainty that surrounded Alison Janneymom's character, and I think that continuing the theme of Island protectors who don't seem to truly understand what they're protecting, or why, is a fascinating one. Many of the individual scenes were captivating, and yet, at the same time, if I'm being honest, I'm sort of cool on it as a whole. Part of this is due to my own overinflated expectations. I was expecting a LOT of Across the Sea, and that's not the show's fault.
Most of the problems I have with the episode involve unanswered questions. Is the Smoke Monster actually Jacob's (still unnamed! What's up with that?) brother? Is what was released by The Man With No Name's body the embodiment of "pure evil"? If so, why can't Smokey hurt Jacob? Is Smokey "bonded" with the MiB? It has to be that the MiB's trip down the "rabbit hole" results in his being replaced/fused with something dark/evil by passing into the light. Otherwise, to be honest, I don't have much of a problem with the MiB leaving the Island. I mean, his mother was murdered, he was lied to, and when he tried to escape he got beaned in the back of the head with solid rock.
And what's with that claim anyway? Why can't they hurt each other? I assume "hurt" actually means "kill," since we see Jacob knock the snot out of his lil bro twice. Unnamed Alison Janneymom gave Jacob wine from the same bottle that Jacob used to give Richard wine. Does that mean the wine is responsible for immortality, and not Jacob's touch? I could go on, but then what would I write about for Friday? Unanswered questions are a problem I can deal with, and it makes the prospect of writing this week's column both exciting and very, very daunting.
I can't lie - some of my problems came from what seemed to be real problems in the story - how does "mom" manage to slaughter an entire village and burn it to the ground? Does she command Smokey? How did she cave the well in? Smokey? Did we really need to see heavy-handed flashbacks to Season 1 in order to figure out who Adam and Eve were? Why hasn't anyone else on the Island stumbled over the Big Glowing Hole In The Ground? For that matter, why couldn't the MiB find it again? Wait 'til dark, then walk around looking for the spot where eerie golden light is spilling from the ground. And was Alison Janney's essential Alison Janneyness distracting for anyone else? For as much as I loved seeing glimpses of the early civilization on the Island, I can't help feeling as though there were missed opportunities here, and that some aspects of the show (the look of it, the costuming, and the ham-handedness of some of the exposition) simply don't rise to the same level of realism and subtlety that Ab Aeterno did.
For all of that complaining and kvetching though, I didn't hate the episode. I'm just having an honestly-mixed reaction and, lucky you, you get to experience my reservations through the power of the internet. One of my much-appreciated Twitter peeps made the observation that this episode should have been the Season opener. I sort of agree in that I think I'd feel kinder to it if it had come, say, directly after The Substitute. In fact, in the future I think that's where I'll choose to re-slot this installment. It fits in perfectly there.
To sum up: I liked much about the episode's themes, it's ambition and it's seemingly-purposefully-veiled mythology. I had trouble with what felt like stilted acting in places, some clunky exposition, and the sense of ongoing confusion that resulted by episode's end. I'm looking forward to talking about this one tonight with some of you down at Professor Thom's (2nd Ave btwn 13th and 14th streets @ 7 pm), and to (drunkenly) rewatching it afterward, because I think there's a lot to chew on here and because I'm frankly hoping that it'll work better for me on the second go-round. This is without a doubt the single most divisive episode of Lost. I'm still on-board for the rest of the ride. Unlike some of my more hyperbolic colleagues, I didn't hate the episode and I don't think Lost has jumped the shark/sh*t the bed/pulled an "Episode 1"/whathaveyou - but for the first time this season since Recon I'm surprisingly underwhelmed.
Let's see what happens when I watch it again. Your thoughts?
Original Post:
"Somewhere, beyond the sea
Somewhere waitin’ for me...
My lover stands on golden sands
And watches the ships that go sailin’.
Somewhere, beyond the sea
She's there watchin’ for me...
If I could fly like birds on high
Then straight to her arms I’d go sailin’.
It's far beyond the stars
It's near beyond the moon
I know beyond a doubt
My heart will lead me there soon."
- Beyond The Sea, Charles Trenet/Jack Lawrence
Tonight brings to us "Across the Sea," the third-to-last episode of Lost. It's strange to type that.
The title of tonight's installment recalls the title of "Beyond the Sea," the timeless standard that's been interpreted by the likes of Bobby Darin and Frank Sinatra, and which was featured (in French!) back in Season 1 of the show.
What can we expect? Well, for one, we can expect not to see much (if anything) of the show's regular cast. We can expect some of our questions about the Island, its history and its mysteries, to be highlighted. We can expect a very special, very surprising guest-star. And we can expect Titus Welliver and Mark Pelligrino to deliver on the acting front.
If you're clueless about the subject matter of this installment I'm not going to spoil things for you any more than that. All I'll say is that this is the episode I've been waiting all season for, . I'll be back here after the episode airs on the East Coast to give my InstaReaction, and I'll have, I think, plenty to say about it at that point. If you're in the NYC area tomorrow night (Wednesday, May 12th), come by Professor Thom's at 7 pm. I'll be there with my purple baseball cap on, sipping a beer and looking forward to hearing your thoughts on this one.
Friday, May 7
The Candidate (S6, ep. 14)
The Back to the Island column for The Candidate has been boobytrapped for your reading pleasure on Chud.com.
Tuesday, May 4
Lost: Season 6, Ep. 14 Discussion
InstaReaction:
Congratulations, Lost. You have emotionally devastated me. Not one, not two, not three, but four characters take a ride with the Reaper by the end of this thing, and while some folks are bound to cry 'overkill' (literally) this felt pitch perfect in it's clockwork-precise tragedy. Our friends in the UK haven't gotten the episode yet, so I'll warn those folks now - names are discussed directly below. Turn away, or be spoiled.
...So.
Goodbye, Sayid Jarrah, Frank Lapidus, and Sun and Jin Kwon. Watching as the figurative tumblers in Anti-Locke's gambit clicked into place (a gambit that I feel compelled, immodestly, to point out that I've been predicting throughout the season, though the specifics were better than anything I'd imagined) was awful and yet gruesomely satisfying at the same time.
I'm still trying to process everything here, and it isn't easy. I've remained emotionally invested in Lost's characters, and watching them topple like dominoes was a legitimately emotional experience for me. With Sayid dead the question of infection seems abandoned, which is going to irritate me in the future, but his selfless death and last-minute words to Jack went a long way toward making his arc enormously, tragically satisfying for me. I knew Frank was a dead man as soon as it was announced that the plane was so longer an option, since his sole purpose this season has been to serve as possible pilot. And what is there to say about Sun and Jin? Well, I'll tell you what my wife said: " yeah, that's tragic, but they just left their kid to be an orphan." My wife is smart. That's pretty selfish. But i bought their decision, selfish or not, and the way that the whole sinking sub scene recalled the flooding of The Looking Glass, Sun and Jin's drifting hands calling to mind Charlie's drifting body, gave me chills.
Some of you have let me know about Devin Faraci's new column on Chud, which apparently bemoans the circularity of the show's storytelling, among other things. Tonight, Sawyer's dialogue affirmed for us explicitly that this circularity is very much intentional on the part of Lost's writers. The Castaways have been traveling in karmic circles for six seasons. Tonight, those circles were renewed and shattered at once.
There's so much here - Widmore's seeming efforts to protect the Castaways, Anti-Locke's true plan, Jack's revisitation of his dynamite conversion and the failure of James Ford to trust, Kate's increasingly-serious wounding, the bleeding of John Locke's consciousness, Anthony Cooper's fate and the reversal of off-Island Jack and Locke's positions of Men of Science and Faith, Bernard's creepy-yet-warm knowingness, so similar to Charlie and Desmond.
At this point all of my Island questions are decidedly secondary to my concern for the fates of these characters. And that is, to me, the true feat of tonight's episode.
We're hours away from The Candidate, tonight's new episode of Lost. Loved having a week off, so to speak, but it's great to be back in the saddle again. So, let's recap where we left off: Sawyer and the castaways are on Hydra Island, and they've just been taken prisoner/positioned for execution by Widmore's team of surly Insurance Salesmen. Jack took a literal leap of faith and returned to the Island, where we promptly did his best "man near-exploded by a rocket" impression and was rescuedby none other than Anti-Locke. Sayid's still hanging around with the Man In Black, but it looks as though he's not following orders quite as zombirifically as he has been. Does this mean that Desmond's now roaming the Island? Still stuck in the Well? Have Richard, Ben and Miles made it back to Dharmaville yet? Will Ben end up damning himself? Will Jack figure out what he's meant to do? Will the timelines converge? Will it all be revealed as a Second Snake? The result of the MiB's escape? Will Widmore do some third party Castaway slaughtering? Will Frank Lapidus develop a purpose, besides being the resident quipster when Sawyer's not around?
With just five hours left (!) can Lost stick it's landing? And will tonight be interesting/emotional/exciting enough to distract me from the fact that next week brings what's arguably the most anticipated episode of the season, other than the finale itself?
Leave your thoughts, hopes, comments, criticisms and predictions right here. I'll be in after the show airs at 9 pm EST to give my InstaReaction. Enjoy the episode!
Congratulations, Lost. You have emotionally devastated me. Not one, not two, not three, but four characters take a ride with the Reaper by the end of this thing, and while some folks are bound to cry 'overkill' (literally) this felt pitch perfect in it's clockwork-precise tragedy. Our friends in the UK haven't gotten the episode yet, so I'll warn those folks now - names are discussed directly below. Turn away, or be spoiled.
...So.
Goodbye, Sayid Jarrah, Frank Lapidus, and Sun and Jin Kwon. Watching as the figurative tumblers in Anti-Locke's gambit clicked into place (a gambit that I feel compelled, immodestly, to point out that I've been predicting throughout the season, though the specifics were better than anything I'd imagined) was awful and yet gruesomely satisfying at the same time.
I'm still trying to process everything here, and it isn't easy. I've remained emotionally invested in Lost's characters, and watching them topple like dominoes was a legitimately emotional experience for me. With Sayid dead the question of infection seems abandoned, which is going to irritate me in the future, but his selfless death and last-minute words to Jack went a long way toward making his arc enormously, tragically satisfying for me. I knew Frank was a dead man as soon as it was announced that the plane was so longer an option, since his sole purpose this season has been to serve as possible pilot. And what is there to say about Sun and Jin? Well, I'll tell you what my wife said: " yeah, that's tragic, but they just left their kid to be an orphan." My wife is smart. That's pretty selfish. But i bought their decision, selfish or not, and the way that the whole sinking sub scene recalled the flooding of The Looking Glass, Sun and Jin's drifting hands calling to mind Charlie's drifting body, gave me chills.
Some of you have let me know about Devin Faraci's new column on Chud, which apparently bemoans the circularity of the show's storytelling, among other things. Tonight, Sawyer's dialogue affirmed for us explicitly that this circularity is very much intentional on the part of Lost's writers. The Castaways have been traveling in karmic circles for six seasons. Tonight, those circles were renewed and shattered at once.
There's so much here - Widmore's seeming efforts to protect the Castaways, Anti-Locke's true plan, Jack's revisitation of his dynamite conversion and the failure of James Ford to trust, Kate's increasingly-serious wounding, the bleeding of John Locke's consciousness, Anthony Cooper's fate and the reversal of off-Island Jack and Locke's positions of Men of Science and Faith, Bernard's creepy-yet-warm knowingness, so similar to Charlie and Desmond.
At this point all of my Island questions are decidedly secondary to my concern for the fates of these characters. And that is, to me, the true feat of tonight's episode.
We're hours away from The Candidate, tonight's new episode of Lost. Loved having a week off, so to speak, but it's great to be back in the saddle again. So, let's recap where we left off: Sawyer and the castaways are on Hydra Island, and they've just been taken prisoner/positioned for execution by Widmore's team of surly Insurance Salesmen. Jack took a literal leap of faith and returned to the Island, where we promptly did his best "man near-exploded by a rocket" impression and was rescuedby none other than Anti-Locke. Sayid's still hanging around with the Man In Black, but it looks as though he's not following orders quite as zombirifically as he has been. Does this mean that Desmond's now roaming the Island? Still stuck in the Well? Have Richard, Ben and Miles made it back to Dharmaville yet? Will Ben end up damning himself? Will Jack figure out what he's meant to do? Will the timelines converge? Will it all be revealed as a Second Snake? The result of the MiB's escape? Will Widmore do some third party Castaway slaughtering? Will Frank Lapidus develop a purpose, besides being the resident quipster when Sawyer's not around?
With just five hours left (!) can Lost stick it's landing? And will tonight be interesting/emotional/exciting enough to distract me from the fact that next week brings what's arguably the most anticipated episode of the season, other than the finale itself?
Leave your thoughts, hopes, comments, criticisms and predictions right here. I'll be in after the show airs at 9 pm EST to give my InstaReaction. Enjoy the episode!
Friday, April 23
The Last Recruit (S6, ep. 13)
The Back to the Island column for The Last Recruit has tossed itself off a boat for your reading pleasure on Chud.com.
Thursday, April 22
Your Back to the Island Teaser Quotation
The column for "The Last Recruit" will publish tomorrow on Chud.com. In the meantime, here's your teaser quotation:
"Nature is like the chain of the Ferris Wheel, endless and infinite, and these little carriages are the bodies or forms in which fresh batches of souls are riding, going up higher and higher until they become perfect and come out of the wheel. But the wheel goes on. And so long as the bodies are in the wheel, it can be absolutely and mathematically foretold where they will go, but not so of the souls. Thus it is possible to read the past and the future of nature with precision. We see, then, that there is recurrence of the same material phenomena at certain periods, and that the same combinations have been taking place through eternity."
See you all mañana...
"Nature is like the chain of the Ferris Wheel, endless and infinite, and these little carriages are the bodies or forms in which fresh batches of souls are riding, going up higher and higher until they become perfect and come out of the wheel. But the wheel goes on. And so long as the bodies are in the wheel, it can be absolutely and mathematically foretold where they will go, but not so of the souls. Thus it is possible to read the past and the future of nature with precision. We see, then, that there is recurrence of the same material phenomena at certain periods, and that the same combinations have been taking place through eternity."
See you all mañana...
Passing the Conch: The Back to the Island Guest Column
Aloha, folks.
I'm currently hard at work, piecing together another of my shambling creations. It'll post tomorrow on Chud.com, and I hope it's enjoyed. In the meanwhile, let's pass the Conch and cede the stage to Musicologist, Music Journalist, and Musician Josh Cutchin.
Josh shot me an email this week pointing out some interesting musical trivia about this week's episode. Seeing as he's the Musicologist, and I'm the dude with a blog, I thought I'd offer him a chance to share his thoughts with all of you. He came back to me with a really interesting piece. So put your virtual hands together for Mr. Josh Cutchin, who's musical stylings can be sampled by clicking this here link.
******
The Last Recruit was a very special episode of ABC’s LOST. Not because of any ground-shaking, earth-shattering revelations, but rather because it was the first episode of the six-year series that dared to approach its musical content with the same fervor and depth it usually reserves for themes, mythology, and imagery.
Please don’t misunderstand me: LOST has used music in very successful ways before. The continuity of themes is admirable – Beyond the Sea and Catch a Fallen Star have popped in and out of the series in significant ways that are meaningful to the plot and its themes. However, the original score, by Michael Giacchino, has done little to inspire. In most cases, the score of LOST does what every film score should do on its most basic level: it complements the music and stays out of the way. In The Last Recruit, however, Giacchino’s score aspired to do something more, to impart meaning.
Approximately twenty-five minutes into the broadcast (eighteen, for you online viewers), I was struck by what sounded like a paraphrase of Frédéric Chopin’s Piano Sonata No. 2 third movement. Compare the Chopin to this excerpt from The Last Recruit (MMorse - I've attempted to add Josh's mp3 file to this post without success. Fortunately, Josh has helpfully provided you with the approximate time of the score snippet in question. I'll see about figuring out how to get the actual file on here). The similarities are striking.
Both compositions are built on top of a repeated minor third quarter-note ostinato; the Piano Sonata third movement (commonly know as Chopin’s Marche funèbre: Lento, or “Funeral March”) is in Bb minor, while Giacchino’s composition is only a half-step higher, in B minor. Moreover, the melodies of both compositions are built around minor thirds, while the sequence of long and short notes is strikingly similar. If the time was taken to transcribe Giacchino’s composition, more similarities would undoubtedly surface.
So why imitate Chopin’s “Funeral March”? Well, some of the reasons are obvious to fans of the series. At this particular point in the story, the ominous “Man-in-Black" is leading his ragtag group of followers through the jungle on a literal march – when coupled with the longstanding deathly connotations of Chopin’s composition, the connection is obvious. The Man-in-Black is leading them to something less-than-desirable.
M. Ziem, a fellow artist and longtime associate of Chopin, wrote this about the Funeral March’s composition:
"Some time later Chopin came into my studio, just as George Sand depicts him -- the imagination haunted by the legends of the land of frogs, besieged by nameless shapes. After frightful nightmares all night, in which he had struggled against specters who threatened to carry him off to hell, he came to rest in my studio. His nightmares reminded me of the skeleton scene and I told him of it. His eyes never left my piano, and he asked: “Have you a skeleton?” I had none; but I promised to have one that night, and so invited Polignac to dinner and asked him to bring his skeleton. What had previously been a mere farce became, owing to Chopin's inspiration, something grand, terrible and painful. Pale, with staring eyes, and draped in a winding sheet, Chopin held the skeleton close to him, and suddenly the silence of the studio was broken by the broad, slow, deep, gloomy notes. The “Dead March” was composed there and then from beginning to end."
“Nameless shapes,” albeit coincidental, certainly conjures up images of the Man-in-Black’s alternate guise, that of the Smoke Monster. Confronting one’s mortality also seems to be a theme prevalent on LOST. Most striking and important, however, are the less-obvious connections between Chopin’s composition and LOST.
Giacchino’s theme appears once more following the Sawyer’s explanation of his plot to double-cross the Man-in-Black – the former has decided to ditch the latter in a bid to escape the island. On the surface, Sawyer and a handful of his comrades are allied with the Man-in-Black. In reality, they are planning to rebel against him and leave. University of Pennsylvania and renowned Chopin scholar Jeffrey Kallberg claims that the “Funeral March” is as much about the November Uprising as it is about death.
Chopin, a Polish nationalist, had deep sympathies for his countrymen in their effort to seek independence from the Russian Empire. Needless to say, the effort went poorly, with over 7,000 Polish soldiers dying in the battle. Upon learning of the failed attempt, the grief-stricken Chopin composed his Piano Sonata No. 2. Chopin’s first biographer was so struck by the result that he heard “the pain and grief of an entire nation” within the third movement.*
At this point in LOST, there are various factions working towards numerous ends. In the case of Sawyer, he is trying to assert his independence from the Man-in-Black; however, the similarities between Michael Giacchino’s score and Chopin’s “Funeral March,” with all of its baggage, simply do not bode well for our protagonists.
*The Marche funèbre was played at the funerals of Chopin, President John F. Kennedy, and Joseph Stalin.
I'm currently hard at work, piecing together another of my shambling creations. It'll post tomorrow on Chud.com, and I hope it's enjoyed. In the meanwhile, let's pass the Conch and cede the stage to Musicologist, Music Journalist, and Musician Josh Cutchin.
Josh shot me an email this week pointing out some interesting musical trivia about this week's episode. Seeing as he's the Musicologist, and I'm the dude with a blog, I thought I'd offer him a chance to share his thoughts with all of you. He came back to me with a really interesting piece. So put your virtual hands together for Mr. Josh Cutchin, who's musical stylings can be sampled by clicking this here link.
******
The Last Recruit was a very special episode of ABC’s LOST. Not because of any ground-shaking, earth-shattering revelations, but rather because it was the first episode of the six-year series that dared to approach its musical content with the same fervor and depth it usually reserves for themes, mythology, and imagery.
Please don’t misunderstand me: LOST has used music in very successful ways before. The continuity of themes is admirable – Beyond the Sea and Catch a Fallen Star have popped in and out of the series in significant ways that are meaningful to the plot and its themes. However, the original score, by Michael Giacchino, has done little to inspire. In most cases, the score of LOST does what every film score should do on its most basic level: it complements the music and stays out of the way. In The Last Recruit, however, Giacchino’s score aspired to do something more, to impart meaning.
Approximately twenty-five minutes into the broadcast (eighteen, for you online viewers), I was struck by what sounded like a paraphrase of Frédéric Chopin’s Piano Sonata No. 2 third movement. Compare the Chopin to this excerpt from The Last Recruit (MMorse - I've attempted to add Josh's mp3 file to this post without success. Fortunately, Josh has helpfully provided you with the approximate time of the score snippet in question. I'll see about figuring out how to get the actual file on here). The similarities are striking.
Both compositions are built on top of a repeated minor third quarter-note ostinato; the Piano Sonata third movement (commonly know as Chopin’s Marche funèbre: Lento, or “Funeral March”) is in Bb minor, while Giacchino’s composition is only a half-step higher, in B minor. Moreover, the melodies of both compositions are built around minor thirds, while the sequence of long and short notes is strikingly similar. If the time was taken to transcribe Giacchino’s composition, more similarities would undoubtedly surface.
So why imitate Chopin’s “Funeral March”? Well, some of the reasons are obvious to fans of the series. At this particular point in the story, the ominous “Man-in-Black" is leading his ragtag group of followers through the jungle on a literal march – when coupled with the longstanding deathly connotations of Chopin’s composition, the connection is obvious. The Man-in-Black is leading them to something less-than-desirable.
M. Ziem, a fellow artist and longtime associate of Chopin, wrote this about the Funeral March’s composition:
"Some time later Chopin came into my studio, just as George Sand depicts him -- the imagination haunted by the legends of the land of frogs, besieged by nameless shapes. After frightful nightmares all night, in which he had struggled against specters who threatened to carry him off to hell, he came to rest in my studio. His nightmares reminded me of the skeleton scene and I told him of it. His eyes never left my piano, and he asked: “Have you a skeleton?” I had none; but I promised to have one that night, and so invited Polignac to dinner and asked him to bring his skeleton. What had previously been a mere farce became, owing to Chopin's inspiration, something grand, terrible and painful. Pale, with staring eyes, and draped in a winding sheet, Chopin held the skeleton close to him, and suddenly the silence of the studio was broken by the broad, slow, deep, gloomy notes. The “Dead March” was composed there and then from beginning to end."
“Nameless shapes,” albeit coincidental, certainly conjures up images of the Man-in-Black’s alternate guise, that of the Smoke Monster. Confronting one’s mortality also seems to be a theme prevalent on LOST. Most striking and important, however, are the less-obvious connections between Chopin’s composition and LOST.
Giacchino’s theme appears once more following the Sawyer’s explanation of his plot to double-cross the Man-in-Black – the former has decided to ditch the latter in a bid to escape the island. On the surface, Sawyer and a handful of his comrades are allied with the Man-in-Black. In reality, they are planning to rebel against him and leave. University of Pennsylvania and renowned Chopin scholar Jeffrey Kallberg claims that the “Funeral March” is as much about the November Uprising as it is about death.
Chopin, a Polish nationalist, had deep sympathies for his countrymen in their effort to seek independence from the Russian Empire. Needless to say, the effort went poorly, with over 7,000 Polish soldiers dying in the battle. Upon learning of the failed attempt, the grief-stricken Chopin composed his Piano Sonata No. 2. Chopin’s first biographer was so struck by the result that he heard “the pain and grief of an entire nation” within the third movement.*
At this point in LOST, there are various factions working towards numerous ends. In the case of Sawyer, he is trying to assert his independence from the Man-in-Black; however, the similarities between Michael Giacchino’s score and Chopin’s “Funeral March,” with all of its baggage, simply do not bode well for our protagonists.
*The Marche funèbre was played at the funerals of Chopin, President John F. Kennedy, and Joseph Stalin.
Tuesday, April 20
Lost: Season 6, Episode 13 Discussion
Instareaction:
Everyone feel that engine kick?
Tonight's episode pushed things forward for the characters on a number of levels (off-Island folks converging! On-Island folks fleeing!), seemed to answer a few questions (the MiB was Christian! Maybe! Sayid was brought back by the MiB! Probably!), highlighted some other questions, and delivered a lot of flat-out exciting stuff (Zoe: "show them what we're capable of.").
There's a ton of fun things to talk other in this one. Did Sayid shoot Desmond (my money's on 'no')? Is Sayid capable of 'redemption'? How about Sun's trauma-induced recognition of Locke? Widmore's sudden change of heart w/r/t Sawyer and the others? Jack's decision ("This feels wrong.")? Desmond's off-Island Jacobosity? The Jack and Anti-Locke sit-down (with a surprising lack of Jackface)? Claire's comment that Anti-Locke had spoken to Jack, making Shepard 'his'?
I loved it. It was an episode fully driven by attention to it's characters and observing how they've changed, how they remain the same (how great was that Sawyer/Kate scene off-Island?). It pushed us closer to The End firmly but slowly, as if daring us to peek over the edge before shoving us over it.
What did you think? Was Anti-Locke telling the truth about being Christian? That's been my longstanding theory, but Terry O'Quinn pregnant pause gave me room enough to doubt. If he can't leave the Island, how did Christian appear off-Island? On the other hand, Claire asks Jack if he's been told that the MiB was Christian, and we saw her hanging out with her dead dad in "Jacob's" cabin back in Season 4.
The MiB seems to have brought Sayid back from the dead (and Sayid calls himself a zombie in this episode, mirroring his previous denial ("I am not a zombie.")). How'd he do it? Richard says that he's never seen the dead brought back to life on the Island. Does that mean this is the first time the MiB has done this? Just that Richard was never aware of this? And what does it "mean"?
Original Post:
"There's no earthly way of knowing
Which direction we are going
There's no knowing where we're rowing
Or which way the river's flowing
Is it raining, is it snowing?
Is a hurricane a'blowing?
Not a speck of light is showing
So the danger must be growing
Are the fires of hell a'glowing?
Is the grisly reaper mowing?
Yes, the danger must be growing
For the rowers keep on rowing
And they're certainly not showing
Any signs that they are slowing!"
Those are the lyrics to "The Wondrous Boat Ride," the memorably insane and completely creepy song from the film Willy Wonka and the Chocolate Factory. If you've seen the Gene Wilder original, you know exactly what scene it is: the one with the Boat, obviously, and also the one in which someone chops the head off of a chicken on the wall of a darkened tunnel.
It's messed up. And I can't wait to scar my as-yet-nonexistent children with it.
That song provided the musical basis for last week's teaser, creating an aura of menace and madness (and more than a little of-a-certain-age nostalgia) that promises events both Great and Terrible. Will we get our answer to the question of "infection"? Will Sayid speak the words "I have no choice"? Will we come to understand the Man in Black's true name/identity? Will the meeting between Jack and Locke be as brain-meltingly awesome as I'd like it to be?
Only one thing is more-or-less for certain:
There Will Be Jackface.
Leave you comments, criticisms, hopes, fears, and whathaveyous here in the comments section. I'll be in after the episode airs in the US on the East Coast to give my Instareaction. Enjoy it while it lasts, people. This is truly The Beginning of the End.
Everyone feel that engine kick?
Tonight's episode pushed things forward for the characters on a number of levels (off-Island folks converging! On-Island folks fleeing!), seemed to answer a few questions (the MiB was Christian! Maybe! Sayid was brought back by the MiB! Probably!), highlighted some other questions, and delivered a lot of flat-out exciting stuff (Zoe: "show them what we're capable of.").
There's a ton of fun things to talk other in this one. Did Sayid shoot Desmond (my money's on 'no')? Is Sayid capable of 'redemption'? How about Sun's trauma-induced recognition of Locke? Widmore's sudden change of heart w/r/t Sawyer and the others? Jack's decision ("This feels wrong.")? Desmond's off-Island Jacobosity? The Jack and Anti-Locke sit-down (with a surprising lack of Jackface)? Claire's comment that Anti-Locke had spoken to Jack, making Shepard 'his'?
I loved it. It was an episode fully driven by attention to it's characters and observing how they've changed, how they remain the same (how great was that Sawyer/Kate scene off-Island?). It pushed us closer to The End firmly but slowly, as if daring us to peek over the edge before shoving us over it.
What did you think? Was Anti-Locke telling the truth about being Christian? That's been my longstanding theory, but Terry O'Quinn pregnant pause gave me room enough to doubt. If he can't leave the Island, how did Christian appear off-Island? On the other hand, Claire asks Jack if he's been told that the MiB was Christian, and we saw her hanging out with her dead dad in "Jacob's" cabin back in Season 4.
The MiB seems to have brought Sayid back from the dead (and Sayid calls himself a zombie in this episode, mirroring his previous denial ("I am not a zombie.")). How'd he do it? Richard says that he's never seen the dead brought back to life on the Island. Does that mean this is the first time the MiB has done this? Just that Richard was never aware of this? And what does it "mean"?
Original Post:
"There's no earthly way of knowing
Which direction we are going
There's no knowing where we're rowing
Or which way the river's flowing
Is it raining, is it snowing?
Is a hurricane a'blowing?
Not a speck of light is showing
So the danger must be growing
Are the fires of hell a'glowing?
Is the grisly reaper mowing?
Yes, the danger must be growing
For the rowers keep on rowing
And they're certainly not showing
Any signs that they are slowing!"
Those are the lyrics to "The Wondrous Boat Ride," the memorably insane and completely creepy song from the film Willy Wonka and the Chocolate Factory. If you've seen the Gene Wilder original, you know exactly what scene it is: the one with the Boat, obviously, and also the one in which someone chops the head off of a chicken on the wall of a darkened tunnel.
It's messed up. And I can't wait to scar my as-yet-nonexistent children with it.
That song provided the musical basis for last week's teaser, creating an aura of menace and madness (and more than a little of-a-certain-age nostalgia) that promises events both Great and Terrible. Will we get our answer to the question of "infection"? Will Sayid speak the words "I have no choice"? Will we come to understand the Man in Black's true name/identity? Will the meeting between Jack and Locke be as brain-meltingly awesome as I'd like it to be?
Only one thing is more-or-less for certain:
There Will Be Jackface.
Leave you comments, criticisms, hopes, fears, and whathaveyous here in the comments section. I'll be in after the episode airs in the US on the East Coast to give my Instareaction. Enjoy it while it lasts, people. This is truly The Beginning of the End.
Monday, April 19
The Zombie Debate Continues...
Regular visitors on Back to the Island have probably seen my correspondence with an intelligent German reader who questioned my comparison of Sayid to the concept of "philosophical zombies" (or "p-zombies"). While that gentleman and I agreed to disagree on the applicability of the term to Sayid's character, we both agreed that calling him a "zombie" was pretty apt.
Now it looks like Naveen Andrews, the actor who so capably portrays Sayid, might also agree. The new issue of TV Guide features cast photos of the main Lost actors, alongside their responses to TV Guide's question: If you could place your Lost character on another show, what show would it be? Here is Andrews' answer:
"HBO's vampire series, True Blood, where a character as dysfunctional - and potentially undead - as Sayid would actually fit."
Iiiiinteresting.
Read the entirety of the article (which isn't much - what's up with the trend of running GIGANTIC PHOTOS alongside smatterings of text in magazines? Are we collectively that illiterate these days? /End Old Man Rant) right here, at the Hollywood Reporter.
Now it looks like Naveen Andrews, the actor who so capably portrays Sayid, might also agree. The new issue of TV Guide features cast photos of the main Lost actors, alongside their responses to TV Guide's question: If you could place your Lost character on another show, what show would it be? Here is Andrews' answer:
"HBO's vampire series, True Blood, where a character as dysfunctional - and potentially undead - as Sayid would actually fit."
Iiiiinteresting.
Read the entirety of the article (which isn't much - what's up with the trend of running GIGANTIC PHOTOS alongside smatterings of text in magazines? Are we collectively that illiterate these days? /End Old Man Rant) right here, at the Hollywood Reporter.
Everybody Loves Hugo (S6, Ep. 12)
The Back to the Island column for Everybody Loves Hugo has taken it's life-long love of Chicken and used it to create a benevolent Empire for your reading pleasure on Chud.com.
Thursday, April 15
An Interview with Hiroyuki Sanada
Good morning, everyone. My interview with Hiroyuki Sanada (Dogen on Lost) has been posted on Chud.com for your reading pleasure. If you enjoy it, please Digg it, or whatever it is that the kids are doing these days.
Hope it's enjoyed!
Hope it's enjoyed!
Tuesday, April 13
Lost: Season 6, Episode 12 Discussion
The Instareaction:
So were you left grinning ear-to-ear, nervous and amped up; almost absurdly energized by tonight's episode? Or was that just me? Further confirmation of the Love Snake theory, a warm and touching reappearance from Libby, a splintering of purposes, Death By Water Bottle, Jack's willingness to trust, Desmond's lack of fear, The appearance of another of the Island's Lost Boys (was that the MiB as a child?), the knowledge that some of the dead are trapped on the Island (echoes of my well of souls theory) and that the Whispers are the voices of those Purgatorial souls, the way that Desmond acts as a kind of Jacob in the Off-Island world, and the way the episode ends.....
Is this show really going to stick the landing?
After tonight I'm more confident than ever that the answer is 'yes.'
Original Post:
Jimmy Wales (founder of Wikipedia) would like to petition JJ Abrams for more Lost, according to a bunch of different online sources.
I'd sign that petition - and I never sign petitions for television/film/entertainment. See, counting tonight's episode there are just four (FOUR!) episodes of Lost left until the finale. How did this happen so quickly? And do they make a form of Methadone that's strong enough to deal with the withdrawal symptoms I'm going to be dealing with?
Some of you already know that once Lost ends I'll be turning my attentions toward The Book (which you can contact me about at WhatIsWater@gmail.com) and toward new material, so it isn't as though I'll be leaving this show behind completely or quit writing altogether. That said, I've been writing on/about Lost for almost a full year now and the transition away from that and onto other things is going to feel very, very weird.
But that's a subject for a month-and-change from now. Tonight it's all about the new episode. Leave your thoughts and comments here - I'll be in after it airs on the East Coast to give my Insta-reaction.
Best,
MMorse
So were you left grinning ear-to-ear, nervous and amped up; almost absurdly energized by tonight's episode? Or was that just me? Further confirmation of the Love Snake theory, a warm and touching reappearance from Libby, a splintering of purposes, Death By Water Bottle, Jack's willingness to trust, Desmond's lack of fear, The appearance of another of the Island's Lost Boys (was that the MiB as a child?), the knowledge that some of the dead are trapped on the Island (echoes of my well of souls theory) and that the Whispers are the voices of those Purgatorial souls, the way that Desmond acts as a kind of Jacob in the Off-Island world, and the way the episode ends.....
Is this show really going to stick the landing?
After tonight I'm more confident than ever that the answer is 'yes.'
Original Post:
Jimmy Wales (founder of Wikipedia) would like to petition JJ Abrams for more Lost, according to a bunch of different online sources.
I'd sign that petition - and I never sign petitions for television/film/entertainment. See, counting tonight's episode there are just four (FOUR!) episodes of Lost left until the finale. How did this happen so quickly? And do they make a form of Methadone that's strong enough to deal with the withdrawal symptoms I'm going to be dealing with?
Some of you already know that once Lost ends I'll be turning my attentions toward The Book (which you can contact me about at WhatIsWater@gmail.com) and toward new material, so it isn't as though I'll be leaving this show behind completely or quit writing altogether. That said, I've been writing on/about Lost for almost a full year now and the transition away from that and onto other things is going to feel very, very weird.
But that's a subject for a month-and-change from now. Tonight it's all about the new episode. Leave your thoughts and comments here - I'll be in after it airs on the East Coast to give my Insta-reaction.
Best,
MMorse
Saturday, April 10
Happily Ever After (S6, Ep. 11
The Back to the Island column for "Happily Ever After" has experienced enlightenment for your reading pleasure on Chud.com.
Thursday, April 1
The Package (S6, ep. 10)
The Back to the Island column for "The Package" has been gratuitously exposed for your reading pleasure on Chud.com.
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