Lost: The End Review

Because we need one more person weighing in on the Lost finale via their blog...

I have watched Lost since the first couple episodes aired. I have gone through years of intrigue and frustration. I have praised it and cursed it, and so it seems fitting that the ending would leave me with mixed feelings. I wouldn't read this if you haven't watched the finale yet.

I knew going into "The End" that there was no way Lost could conclude as cleanly as I wanted it to. I went in ready to give the creators a pass on a lot, but I still left the theater (I watched it at Bagdad Theater in Portland, Oregon) without any real sense of gratification.

The episode bounces between the remaining survivors on the island and the "flash sideways" world while explaining how the two are connected and concluding both threads. In one of the better moments, the story on the island ends with a final shot echoing the beginning of the series that is both satisfying and completely predictable. There are some strong moments leading up to it as well (Hurley and air punches), but just as many that seem pointless and not just a little silly (uncorking and corking the island). This time would have been much better spent attempting to answer at least a few of the many lingering questions of the island.


I think most people like Vincent more than Jack by now.

The "flash sideways" world is full of great moments where characters remember their time on the island with each other. Most of these scenes effectively pay off the emotional arcs running through the series. After a while though, it just starts to feel like a checklist of necessary character moments. I was close to tears a few times, but I felt less invested in where everything was headed than I have since early in season three.

Lost has some of the most effective character work in genre television. That is one reason it has been as successful as it has, whereas many genre shows fail to catch on. I am more or less happy with the endings the characters receive emotionally, but the show has always been sold as this epic mystery and, in later seasons, science fiction story. In the end, the show is just another character drama, one that happens to be wrapped in genre details. And not just a few details! There have been dozens of ideas planted throughout the show as late as this season (Why the hell do Jack and Juliette have a son if the "flash sideways" is just some post-life/pre-afterlife waiting room as opposed to an alternate reality?) that have been flat out ignored with this ending.

To end Lost with the island being this vague magic place and the "flash sideways" being this purgatory/limbo (which only makes less sense the more you analyze it) feels so cheap on both counts. So sure, emotionally you could argue this finale was a success. I have certainly seen worse. But to give this episode a complete pass, as many people seem to be doing, is crazy. This ending is a betrayal of the basic premise of the series in too many ways to ignore. I am glad the characters got theirs, but think of the mysteries! This ending makes way too much of the entire plot feel like sloppy storytelling at best or conscious deception to create buzz at worst.


Bummer that Aaron had to revert to being a baby in the afterlife.

As frustrated as I am by some of this finale, I cannot say I would not watch Lost again. It has been a viewing experience unlike any other. Besides the hours spent watching the show, there have been countless more arguing about it with friends and reading about it online. Some single episodes rank among the best television I have ever watched. Sure I would have liked the ending to wrap up with a few more concrete details, but maybe watching it again in a few years without that expectation will prove I did not need them all along.

Probably not, but at the very least, Lost beats Battlestar Galactica.

3/5

Hangover Morning Cartoons-Star Wars: The Clone Wars and The Spectacular Spider-Man

I have started a new tradition. When I drink too much I have the bad habit of waking up at somewhere between six and eight AM with a headache and an inability to fall back asleep. I have taken to lugging my aching body the several yards from bed to couch, blanket in tow, where I spend the next several hours indulging in cartoon marathons the likes of which I haven't embraced since childhood Saturday mornings.



I have discovered two excellent series this way. The first is Star Wars: The Clone Wars, an awesome action serial that takes place between the slightly less awesome Episodes II and III of the new trilogy (which gets no caps from this guy). I spent a while avoiding this show after the underwhelming reception of the animated theatrical film of the same name and because of my general ignorance of the "Expanded Universe", but I was gradually lured back by positive reviews from both io9 and IGN. I went through the first season over the course of several weeks (and hangovers) and was very pleasantly surprised by the quality.

There was a lack of consistency throughout the first part of the season, but by the end, the episodes each had at least something to get excited about for the most part. Jar Jar is still a useless character, and even in episodes that basically acknowledge his ineptitude, the quality still slipped. In an entirely animated universe, he still came across too 'cartoony'. Otherwise, the stories were classic action/adventure yarns that captured the spirit of the Star Wars Universe well. The fast paced episodes jump right into the story and some of the multiple episode arcs are especially impressive. The show also treaded some darker territory than I was expecting from it originally, which was nice to see since the primary fan base for this series is old enough to handle a little Dark Side action. The strong points of the season tended to be the action sequences. There were some truly impressive light saber battles in many episodes, and also a good mix of dogfights in space that worked well.

The show features most of the characters that existed at this point in the film franchise. Anakin, Obi Wan, Yoda, Count Dooku, General Grevious, and more are all accounted for and well represented for the most part. The real treats were the episodes featuring all those Jedi you wanted more of in the films. Kit Fisto has a great episode, though his Jamaican accent was somewhat distracting. One of the weakest characters is Ahsoka, Anakin's Padawan. She is the "entry point" for younger viewers who might be new to this universe. She gradually became less grating throughout the course of the season, but I am secretly hoping to see Anakin take her out at some point in Revenge of the Sith next time I watch it. Character development is not this series focus or strength, though there are some nice beats spread throughout the first season. I am as big a fan of character driven fiction as anyone, but even I can take joy in a minimalist approach in this context. These characters are archetypes, and many of them have been well establish in the films. It is good versus bad and "Hey look! Awesome action."



The animation takes its cues from the still superior Star Wars: The Clone Wars miniseries made by Genndy Tartakovsky several years prior. It is definitely not going for a realistic approach, but I found the universe to feel very believable in most cases due to the consistency of style. Some character designs look a little too exaggerated, such as Chancellor Palpatine, but it is never overly distracting. Characters such as General Grievous work even better in animation then they did on film. There is also an impressive amount of design work being done for this series. Episodes take place on a variety of planets and feature all manner of crazy Star Wars creatures. The animators also go out of their way to make the clones as recognizable as possible, by providing cosmetic details on outfits and faces. Overall, the design and animation started out strong and continued to improve. I am excited to see more.



The dialogue sticks with the tradition of the movies in offering a mostly wooden, if slightly more over the top, style. It is surprisingly effect coming from these characters compared to their live action counterparts. The music is often spot on in capturing the epic space opera feel of the films, but just as often it seems to stray into this odd muzak type territory that makes no sense. Several times I actually looked around the room to see if the sound was coming from an outside source. The sound effects are, of course, perfect. Star Wars is responsible for many famous film sound effects, and they are all preserved gloriously here.

The plan for this series is to have at least 100 episodes (season one making up the first 22), which means we can look forward to at least five seasons in total. Season two looks even better than what I have seen so far, so I am excited to watch this series develop. I have not enjoyed any new Star Wars project this much in many years, if ever. I wish they had worked out the kinks on the small screen, and then wowed audiences with what would likely have been a superior theatrical venture due to the experience they gained, but it is too late for that. Season One is available in a classy Blu-Ray set full of bonus features, and there is also DVD as well. Action animation and the "Expanded Universe" don't get too much better than this in fun and excitement.



I got to enjoy another series I had been meaning to check out for quite awhile during the mornings after several recent late nights out. The Spectacular Spider-Man did not impress me upon casual observation, but I would trust show runner Greg Weisman based solely on the work he did for Disney's 90s animated show, Gargoyles. He has a unique vision in the world of television animation, willing to tell long form stories in a medium that often caters to short attention spans. I went through both 13 episode seasons over the course of another several weeks and, again, came away largely impressed.

Season one of The Spectacular Spider-man has to be one of the best examples of economy of story in animation ever. The show jumps right into the action, no time for an origin, and quickly establishes Peter Parker's entire world. The show wisely combs through and combines decades of continuity in an extremely streamlined version that allows Weisman to get through several classic bits of Spider-Man lore. The action is intense and exciting. By the time season one was over many major villains had been introduced and Peter's high school life was also well fleshed out. Season two seemed more content to play in the sandbox that was created. This, at first, came at a disappointment when I was expecting more major milestones to be explored than I actually got, but it also offered a more consistent viewing experience. This is classic Spider-Man, full of the big fights, soap opera drama, and of course a main hero who just cannot win, but won't stop trying. The story compounds each episode, even while broken down into smaller arcs. There is a definite continuity to the proceedings, with nice touches such as seasonal changes and attention to school activities that give the show a sense of progression even outside of the constantly shifting character dynamics.

One of the most impressive aspects of this series is how many characters it introduces and how fluidly they all fit in. Peter Parker/Spider-Man is a perfect balance of likable and loser, but not annoyingly so most the time. Gwen Stacy was re-imagined interestingly, but the show never seemed quite sure what to do with her (I have a good idea that the Green Goblin might like). She improved dramatically by the end of season two, complete with a redesign, but I still feel like there have been some missed opportunities. Harry has been a lot of fun, and the way season two played with the story established in the first season and previous comics continuity is a major credit to the talent working on the series. Mary-Jane has also been inserted cleverly, and she is one of the more realistic high school characters in animation, though I wish she would just stop calling her girl friends "girlfriend." Obnoxious! The adults including Aunt May, George Stacey, J. Jonah Jameson, Dr. Connors, and especially Norman Osborn, are a great addition as well. The amount of villains the show has covered in 26 episodes is staggering. The list includes: The Lizard, Vulture, Green Goblin, Rhino, Electro, Shocker, Sandman, Doctor Octopus, Tombstone, Hammerhead, Venom, Chameleon, Mysterio, Kraven, Silver Sable, Black Cat, and probably more I cannot even think of. Though not all of these villains work out as well as I would have hoped, the worst offender being the out of left field interpretation of Kraven, the show does an impressive job juggling so many characters and providing at least a basic motivation for their actions.



The design and animation are two other valuable assets to this series. The design takes some cues from comics artist Humberto Ramos' exaggerated style, and while I am not always won over by it on the page, it works quite well on the screen. The character designs are inventive and usually successful. Spider-Man looks great. Peter Parker's tag sticking out on his shirt was a mildly amusing gag at first, but by the end of the series, it nearly drove me insane. I just wanted to reach into the screen and fix it for him. Choices like that are a little too cute for me. The villains are mostly hit with a few misses. Vulture, Electro, and Kraven are some of the weaker examples, but I really enjoyed Green Goblin, Venom, and Sandman aesthetically. Overall, it is refreshing to see the creators take chances with these classic characters, even if sometimes they should have just left well enough alone. The quality of the animation is incredibly consistent. The action flows smoothly due to fluid motion and dynamic angles. This series is also incredible for how well it establishes New York and all the various locales therein. There is a real sense of geography to the show that is unlike any other cartoon of this type (IE primarily a tool to sell toys) that I can remember. When Spider-Man's breath was visible through his mask, I let out an audible response to express how impressed I was. The animation seems even more well crafted due to the move to CG for many shows and Adult Swim's generally minimalist approach to cartoons. The whole thing just fits together wonderfully. Every element is recognizable as a piece of this specific place.



The dialogue is...well...it is much better than I expect from a show geared mostly towards children. The best thing I can say is that it makes me groan a lot less than anytime I go back and explore television animation of my youth. There are also quite a few strong moments to the dialogue that are worth noting though. Spider-Man's famous quips have at least a .66 hit rate, which is not bad given how many there are in the episodes. The high school drama, though simplified, is never too painful, even if it is only rarely compelling. The voice cast put together does solid work, with only minor exceptions such as Shocker's southern accent. What a treat it was to hear David Keith, as Tombstone, regularly again. The only bad aspect of the sound, is the theme song. It is appallingly horrible. Imagine, if you will, that all Fallout Boy members became mostly deaf and were then hired to come up with a children's theme song in seven minutes, while being molested by teenage groupies,and it is hot out so their hair gel is getting all over their instruments as well. I am not kidding when I tell you that one of the lyrics is, "...arriving in the speed of time." That does not make sense. This theme killed any excitement I had going into each episode. This is especially offensive given that the old Spider-Man song is one of the most famous animation themes ever ("Spider-Man, Spider-Man/Does whatever a spider can). It is possible I am over exaggerating this one flaw, but seriously Weisman, get rid of it.

Besides the two seasons that exists, there is no guarantee that we will get anymore of this series. Weisman fills that persona non grata role in animation about as well as Joss Whedon does in science fiction, as far as getting shows to stick. I would love to see more, and hopefully, if they are allowed, they will continue to plow through those juicy moments of continuity that over 40 years of comics provide. It would at least be nice to see Peter make it out of high school, which at the current pace, seems to require two or more seasons. This show brings to mind the many quality DC animated series that have come out over the years. It is nice to see Marvel offer something of competing quality. Hopefully, it will continue.

If you suffer hangovers and like cartoons, you could do a lot worse than either of these two options for those fuzzy mornings.

Random Obsession of the Day: Blake Lively's Cleavage

There is a show on television called Gossip Girl. And I secretly enjoy it a lot more than I generally admit. I have fallen behind, but the first season and a half was some fun, trashy, soap opera style goodness. This is the kind of show I never actually recommend anyone else watch, but I get very excited about it when someone else brings it up in conversation. The show has a lot of things going for it, possibly the best aspect of this series, though, is Blake Lively's cleavage.

At first I thought this might just be a personal obsession, but a discussion with a few (female) friends, and a quick google search made me realize I am not alone. Still I feel it is worth pointing out to those of you who may not have been paying attention, because this is some truly legendary cleavage.

At this point it is not even about sexual attraction; it is about the mechanics of how her boobs manage to produce such perfect cleavage in so many different outfits. It is hypnotizing. It is like they are immune to the effects of gravity, and I know the obvious answer to the implied question is that they are fake. If that is the case, I think I'd rather never know for certain. For now here are some more photos for your viewing pleasure.

The Two Best Shows Currently on TV (60 minute/30 minute)

Television is often looked at as if all it produces is garbage, when, in reality, some really great long form story telling is being done. Sure the good is probably outweighed by the bad, including the majority of all reality television, but the careful viewer can find hours of quality entertainment. Most series are broken down into hour long or 30 minute programs. Each format offers a lot of strong series, but here are the top of each.



Mad Men

Mad Men has spent three seasons, so far, telling the story of Don Draper, top ad man at a notable agency on Madison Avenue, as he struggles to keep his business, and family life on track, without letting that interrupt his getting laid on a regular basis. The series, set in the 1960s, also focuses on a variety of other characters and situations from that era.



The show is a well of engaging characters. Don is always interesting, but the show also develops a number of other "mad men" in his office. Throughout the series, some characters come and go, but the most important ones include: Roger Sterling, one of Don's bosses at the Sterling Cooper advertising agency, is very compelling. He is likely what Don will end up becoming if he continues to succeed in business. He is great at his job, but his family life is a wreck. He makes consistently questionable decisions in his personal life, but gets by on an undeniable charm and charisma. There is Pete Campbell, who is new to the agency, but has a goal to make it to the top no matter who he steps on to get there. His self serving attitude defines him, but his slimy personality seems to go unnoticed by many and often works in his favor. There is Peggy Olson, a woman working in a man's world who refuses to be defined by her gender. She is also determined to be successful despite any obstacles she might face. She struggles against stereotypes of the time that her behavior might stir. Joan Harris is the queen of the secretaries in the office. She embraces her femininity and uses it to get ahead. She is good at her job, but would prefer filling a traditional house wife role. Betty Draper is the unsatisfied suburban wife of Don. She takes care of their children with the help of a maid and keeps busy with various social and community activities. There are more characters than this, but what is more important is how Matt Weiner and writers uses these characters together to weave a layered story.



Every plot line demands attention for how it uses and forwards character development. Though none of the characters is entirely likable, they all earn a certain amount of sympathy. They are all struggling to get ahead in a changing world, unsure of what exactly would define satisfaction in their lives. A character can do something awful in one episode or scene, and then do something charitable or heroic in the next. They act like real, flawed people. None seems more than fleetingly happy, but they are all trying.

The plot itself is equally gratifying. The pace seems leisurely, like the writers are in no hurry to get to any specific spot but instead are just enjoying watching these characters stories unfold. The series is three seasons in, and the mystery behind Don's past is only now mostly solved. They use story elements like his flashbacks to say something about the current plot, more than as some dramatic hook. Don's marriage has had ups and downs in a way that many people in relationships must relate to. The affairs, the boozing, and the lies do add to the drama, but they also work to create the world and explain the motivations of these characters. And after three seasons, the stories show no sign of slowing down. They creators manage to keep stirring the pot in just the right ways. The set up for season four puts the characters in more interesting situations than ever.

Besides character and plot, there is a lot more to this series though. The setting, 1960s New York, is such a revelatory time for a series to take place. A time that many people and films envision as squeaky clean and innocent is exposed to be much more similar to today than many expect. That revelation brings a connection to modern viewers, allowing them to invest further into this world than many period pieces. The series is also careful to make note of important historical events of the time including Martin Luther King Jr.'s speech, and John F. Kennedy's assassination which works to highlight the amount of social change this period of time brought. They production design of the show is also important. The designers manage to get everything spot on. It never feels faked or inconsistent. From the offices, to the suburbs, to the outfits, to the companies being advertised, everything fits.

After The Wire, many thought television was ruined forever because nothing would come close to that level of mastery, but so far Mad Men appears to be the most qualified successor. Though best enjoyed with a glass of good Scotch and a cigarette in your finest suit or dress, this show will impress you even a la carte.

Runners Up: Lost, Friday Night Lights, Big Love



Venture Bros.

Venture Bros. has very little in common with Mad Men in most ways, but this animated series has proven to be the most entertaining and consistent half hour around. Cartoon Network is in the middle of airing the fourth season of Venture Brothers, and it is about time more people started paying attention to the adventures of young Hank and Dean Venture as they get caught up in their dad's crazy legacy as a boy adventurer and self proclaimed super scientist.

The show's basic premise is to blend every boys favorite memories together in one world and then peek in on what that world would look like down the road. There are countless references including: Johnny Quest, Hardy Boys, Batman and Robin, Astro Boy, Blade, Dr. Strange, James Bond, and much more. Each episode functions as a pop culture "Where's Waldo?" Now this alone earns the series a lot of geek cred, but what sets it apart is what Jackson Public and Doc Hammer (assumed names of the creators) do with the world that they have built.



The characters are some of the most fleshed out animated characters in existence. Dr. Rusty Venture, the boys' father, is a neurotic scientist who has never quite lived up to his own dad. He is often battling villains and rarely accomplishes anything of merit besides endangering his own sons. Hank and Dean are naive, perpetually 16 year old (until recently) boys. They have survived this life due to mysterious circumstances and their body guard. Brock Sampson, the body guard, is the professionally trained savior of the Venture family. He has killed hundreds of villains, and bagged hundreds of women. Dr. Venture's arch nemesis is The Monarch, a butterfly themed villain who rarely manages to pose a real threat. Beyond that, the show offers a host of hilarious characters including: Sergeant Hatred, Dr Orpheus, Dr. Girlfriend, Phantom Limb, David Bowie(!) and more. These characters develop in entertaining and often hilarious ways, all the while never betraying the shows premise or mythology.

Venture Bros. is also all about weaving an entertaining mythology around these characters, that are often thinly veiled parodies of classic heroes. The first two seasons built the world, and the next two seem to be all about playing in it. There are so many great moments in every episode. The dialogue is hilarious. The animation is consistent. The design in inspired. The music, by JG Thirlwell, is also perfect. Every element of this series is gold, hilarious, outrageous gold. The plot up to this point involves, mad science, flying bee hive bases, evil parody of Walt Disney, blackulas, clones, robots, detective stories, pedophilia, love, and failure. Failure is something the creators have described as a primary idea behind the series, which is unexpected for such a successful series. If anyone has ever been or loved (not like Sergeant Hatred) a young boy, or if they just appreciate good storytelling in a unexpected package, then they should find something to appreciate in Venture Bros. This is probably the best animated series since Cowboy Bebop and actually better than Justice League Unlimited.

Runners Up: Breaking Bad, 30 Rock

Friday Night Lights

Friday Night Lights has been one of the best shows over the last few years. It may night match the heights of greatness that shows like Mad Men or The Wire have, but it is easily the most consistent show found on network television (though the current season is currently only available on Direct TV).



Each episode is regularly filled with great character moments/interactions, substantial plot developments, and some of the best acting you will find in television drama. It is a tough sell for a lot of people, as the football hook is not exceedingly attractive and the small town high school setting sounds hard to connect with, if not downright off putting for many.

This is a case where this show is exactly the sum of its parts, which happens to be a good thing. Each piece is so carefully managed. Again, it starts with an excellent cast and builds up steam with the sharp writing, and great production (shot primarily in Austin, TX). The music, which takes cues largely from the Explosions in the Sky soundtrack from the film, is also worth noting. Never has small town life been represented so faithfully and engagingly.

This weeks episode, season four episode three, continues the daring, status quo upsetting story of the rift in the town caused by a high school redistricting. Now as boring as that sounds, in the hands of these writers it has been used to push each character slowly towards his/her breaking point. Coach Taylor is fighting to keep the newly opened East Dillon High School's football team from dying. His struggle threatens his family's well being as he digs into his own pockets to come up with the money to keep the team going. This sacrifice pays off as the team hits the field in new uniforms and renewed spirit. This also puts him at odds with his wife, who is already busy being vilified by Panther's fans for sending a promising new player to East Dillon High after it is found out he is using a fake address from West Dillon. Buddy Garrity is being pushed to his breaking point, and this episode offers a great payoff for this sometimes questionable character as he finally takes a surprising stand. The way this show handles religion is also commendable as evidenced when Julie Taylor expresses her lack of interest in church beyond a family activity. Matt Saracen continues his internship under the questionable tutelage of a local eccentric artist, and this causes Julie to question whether or not she is holding Matt back. Tim Riggins continues to help the new team, specifically helping the new transfer from West Dillon, while also being pestered by a new young girl clearly smitten with him. This is by far the weakest subplot, though it does seem to affirm Tim's status as an adult in this new class of high school students. Landry Clark has been put on a team (the East Dillon Lions) where he can actually contribute, and while this episode does not do too much to forward that story, it does seem to be setting up more to come for this lovable loser.

While some plot lines sound like typical television drama, the way they are handled elevates this show above most of what is currently on. Some of the characters make choices that genuinely surprise, yet feel completely in line with the growth these characters display. Season four thus far has proven to continue the quality the show has displayed and in some ways even improves upon it as it pays off previous plot lines in the form of careful character development.

4/5