Archive for the 'Lost' Category

Lost In The Dollhouse

As noted in an update to my last item on the Comic-Con schedule, Watch with Kristin had put the Lost panel on for 12:00 to 1:00 PM on Saturday afternoon — making it all but certain that it will not be in the same room as the Dollhouse panel currently set for 1:00 to 2:00 PM.

If true, this now becomes all the more problematic as details have leaked (or, possibly leaked, if the source is credible) as to just how the Octagon Global Recruiting thing is going to play out at the convention. If what’s reported by DarkUFO is correct, part of the OGR plan includes something happening at the Lost panel itself.

That means that some of us who had been looking forward to experiencing the OGR material at Comic-Con will be missing out if we opt to be in whatever room features the Dollhouse panel.

Michael Emerson As Benjamin Linus

He still deserves some recognition for his work on Lost from somewhere outside the genre fold at some point, but Michael Emerson — whose performance as Benjamin Linus is, I think, one of the great network television performances in a very long time — took the Saturn Award for Best Supporting Actor on Television on Tuesday.

In the meantime, however, you should be sure to vote for him in this year’s SyFy Portal Genre Awards.

One thing that always has bothered me about television awards is that they seem to focus on a particular episode rather than on the premise that television performance is an on-going affair. It’s within that more proper context that actors like Emerson (and, arguably, Michael Hogan on BSG as well) are deserving of more attention than they receive.

For what it’s worth, my other performance picks over on the SyFy Portal vote are Olmos, McDonnell, Sackhoff (although I very nearly went with Helfer), and Forbes. It wasn’t intentional, focusing so much on Galactica. But when I looked at each set of nominees, they turned out to be my first instinct.

The Octagon

Those of you who saw the ad for Octagon Global Recruiting (on behalf of the Dharma Initiative) which aired during the season finale of Lost, and who provided your email address, should have received this email today. Additional clues are provided by the fact that said email was carbon copied to one Hans Van Eeghen (if you email him directly you get an “out of office” auto-reply), and the presence of “March has 32 days” in the source code.

Lost Time

By the end of this evening I will have completed my first-ever re-viewing of Lost from beginning to end, thanks to finally having bought the first three seasons on DVD and then downloaded season four from iTunes (and, thankfully, having picked up an adapter to connect my laptop to my television). Over the course of this experience I kept thinking about time.

Not time in the sense of how it (or time travel) plays a role in the show’s mythology, but time in the sense of how the story unfolds from episode to episode and season to season. Time in the sense of how the story and its unfolding revelations play out for the viewer over the course of an entire year versus how these things play out within the story itself, for the characters.

When the series began, I well remember the frustration of episode after episode passing without getting to see the monster or being given an explanation for why Locke had been in a wheelchair. For me, that frustration was of the engaging and entertaining variety — but for others, it was a frustration which drove them away from the show.

What I’ve noticed during this re-viewing is that the storytelling actually turns out to be remarkably compact. If you watch the first two seasons over the course of one or two weeks rather than over the course of two years, it becomes more naturally obvious that the first glimpse of the monster comes less than a month of story after the crash of Oceanic 815, and the first full look at it not long after that.

Other questions turn out to yield answers in similarly efficient time frames in terms of the storytelling, and this revelation in turn yielded something of a question which I now pose here.

To which time frame should the writers of weekly episodic television owe their attention: The passage of time within the story itself, or the passage of time for the viewer? And the corollary: Does literacy demand that the viewer bring to bear more patience, as well as an understanding of the difference between these two forms of television time?