Re: Lost: Kill, *****cat, kill!

khalleron@[EMAIL PROTECTED]
 wrote:
>On Apr 1, 1:31 am, weberm@[EMAIL PROTECTED]
 (Ubiquitous) wrote:

>> By Heather Havrilesky
>>
>>  I know it's been a while, but I don't think I can move on with my life
>> until we discuss the "Lost" (new episodes return 10 p.m. EDT on
>> Thursday, April 24) sort-of-finale. What did you think? It's certainly
>> nice to have poor, selfish Michael back. Of course his relation****p
with
>> Walt is on the rocks. Of course he's haunted by having killed Ana-Lucia
>> and Abby in his efforts to break Ben out of captivity in exchange for
>> being allowed to escape from the island with his son Walt.
>>
>> Anyway, now we've got Michael on the "rescue" boat, told by Ben to kill
>> some but not all of its passengers (Please wait for further
>> instructions!), and we've got a boat full of thugs straight out of a
bad
>> Vin Diesel movie, firing their automatic machine guns in the air, thugs
>> who are presumably charged with storming the island and killing
everyone
>> there. So the big question now is ... who's killing and who's getting
>> killed?
>>
>> Kill, kill, kill. In the old days, when in doubt, the writers solved
>> plot problems with mysterious clouds, polar bears, Dharma initiative
>> clues, and the appearance of some im****tant figure in a person's past
in
>> the middle of the jungle. These days, plot problems are solved by
>> killing or threatening to kill characters. We find out Charlie is going
>> to die somehow, and then he does. Locke kills Naomi. Sayid becomes a
>> paid assassin once he leaves the island. Juliet's lover Goodwin ends up
>> killed, thanks to Ben. Jin is going to end up dead. Michael is trying
to
>> kill himself because he killed two people, but he can't, so now he has
>> to kill a whole boatload of people before they kill the people on the
>> island. And how did the episode end? With Alex's lover, Karl, and
>> mother, Rousseau, being killed by sniper fire. Maybe they should change
>> the name from "Lost" to "Killed."
>>
>> Although they may have the toughest job in television, the show's
>> writers aren't making imaginative choices, given the possibilities.
Each
>> new plot development feels like it does the quick and dirty work of
>> solving two problems: 1) prolonging the suspense and 2) pulling in some
>> old thread along the way to make it feel more authentic (Juliet's lover
>> is Goodwin, who we already knew was killed by Ana-Lucia; the spy on the
>> boat is Michael, whose fate we've never known). But the plot of each
>> episode accomplishes little beyond those two immediate goals.
>>
>> The flashbacks used to reveal a character's personality and the
>> formative experiences that shaped his or her worldview. Sometime last
>> season, though, they became empty, plot-based threads that felt more
>> like bad episodes of "The Outer Limits." (Remember Jack's affair with
>> the creepy tattoo woman who said, "I mark people!" but who otherwise
>> served no purpose?) And now even the flash forwards feel flat. Having
>> Jin run around town, looking for what we thought was a present for Sun
>> was a nice misdirection, since we thought he was finding a gift for her
>> while she was in the hospital having their baby, and revealing his
grave
>> at the end was surprising, but what else did we learn about Jin or Sun
>> in that episode? Remember how Locke's flashbacks demonstrated his
>> stubborn pride and his unrelenting determination to win his father's
>> love? Remember how we learned in a flashback that Michael had
>> transformed from a reluctant to a dedicated father? There was growth in
>> those scenes.
>>
>> Plenty of loyal viewers will say, "If you don't like 'Lost' don't watch
>> it." But the creators and writers of this show have made it clear that
>> they can do much, much better when they bring the question of character
>> and intention into the picture. When they honor the richness of these
>> characters, that takes a lot of the pressure off the plot: We're happy
>> to hang out on the boat or get trapped on the island indefinitely as
>> long as there's a substantive conflict that reveals each character's
>> motivations and flaws. Do we even know the difference between Miles,
>> Locke and Ben at this point? They all seem one dimensional, and we're
>> left to speculate which is the most deluded or evil. Of course Ben will
>> end up being the most evil of all, because we know him the best, and
>> that holds more power than simply introducing increasingly evil
>> characters, "24"-style. This show once centered on the clash of various
>> characters' philosophies. Remember? Those days make the current season,
>> with its little skirmishes on the boat, look like a Steven Seagal movie
>> in comparison.
>
>He killed Ana-Lucia and Libby.  Who the heck is Abby?

I am guessing it's part of that annoying thing where people make
contractions out of multiple people's names.
Ana + liBBY = ABBY


-- 
It is simply breathtaking to watch the glee and abandon with which
the liberal media and the Angry Left have been attempting to turn
our military victory in Iraq into a second Vietnam quagmire. Too bad
for them, it's failing.