TV Watcher: 03/01/15 - 03/07/15

03.01.15 - 03.07.15

THE LAST MAN ON EARTH 101/102. "Alive in Tuscon/The Elephant in the Room". Now THIS is how you open a series. For months, FOX has advertised THE LAST MAN ON EARTH sporadically, with each new blurb and TV spot heightening my excitement for this project more and more. Add in the involvement of Phil Lord and Chris Miller (the duo behind LEGO MOVIE and 21 JUMP STREET), who also directed the two-part premiere, and there was zero chance I was skipping this series. Turns out, within the opening fifteen minutes of lunacy and isolation Phil Miller undergoes as he realizes, for some unexplained reason, he's the only man left alive after a virus outbreak, the show already hooked me. It managed to balance the somberness of Phil's realization with the comedy of Phil horsing around, with the world as his playground. 

The big question inherent in THE LAST MAN ON EARTH is, could this be sustainable as a series? Thanks to a clever secret revealed in the premiere episode and the direction episode two sets the series towards, yes, there's so much that can be mined from this premise. Will Forte easily sheds my distaste for him after the dismal MACGRUBER and creates a hilarious, empathetic character who's just given up, and as episode two rolls around and he's faced with a different but familiar living situation, his frustration and charm are beautifully leveled. And major props to the series for adding Alexandra Daddario in a hilarious and tempting cameo. Poor Phil Lord. 

In 43 minutes, this series has won me over, and the prospect of spending the next couple weeks watching Phil Lord mess everything up and acclimate to his new situation is irresistible. Excellent series, excellent work. Grade: A+

EPISODES 409. "Episode Nine". Well, that went by quickly. Season 4 feels like it just began, and here we are, already at the end. Was the ride worth it? EPISODES the series has always enjoyed a rather gradual pace that eventually culminates in a finale that twists things towards another direction, like last year's PUCKS is cancelled-but-now-resurrected-cos-of-higher-ups-bitch-fights, and this season ends on a note that doesn't inspire the most enthusiasm. The whole season has been rather light on comedic moments and a plot interesting enough to keep my attention, becoming more or less a show that I can rely on airing this time of year instead of a show I need to be steadfast and watch like some addiction. Real good story and comedic material could have been mined with everyone and the writers begrudgingly brought back to work on PUCKS, the show everyone in the cast and crew hate, but instead it's glossed over relatively quickly so the characters can concentrate on their new show in development. There's a fun Carol falling for people of power subplot that works extremely well for several episodes only to turn sour in a jealous-rivalry storyline. Even Matt gets two cool chances to stand out - a quasi-reunion with his ex-wife and a reluctant partnership with Lapedius. But, sadly, all these storylines end on a bit of a whimper.

Overall, the weakest season of EPISODES yet, but still a somewhat satisfying adventure. With a season five renewal (as far as I understand it) still up in the air, regardless of what direction the wind blows, it's been a great run, and a fun series to watch. Season Grade: B-


SHAMELESS 507. "Tell Me You Fucking Need Me". After the amazeballs season 4 mid-credits surprise of Jimmy/Steve's apparent resurrection, the Fiona/Jimmy reunion was the storyline I was looking forward to the most this season, and it didn't disappoint. Initially, I suppose I was in the camper van of folks who would like to see their relationship rekindled, but as these three episodes pointed out, y'know, Jimmy isn't exactly a good guy. He's a thief, a liar, and a manipulator who uses situations to his advantage. How their relationship concludes with this episode is sublime. After dealing with her "unfinished business", Fiona realizes it's time to move on, as difficult as it may be, and Jimmy rides away, motorcyclin' into the night. It was a fine line the writers walked with these two characters this season, and the end result was immensely satisfying. Although, sadly, I do now have to recognize this is the last of Dichen Lachman we'll see on the show. She's a terrific actress (see: DOLLHOUSE), and it would have been preferable to see her get an expanded role, but even a tiny bit of Dichen is better than no Dichen. 

Watching Ian's reluctance to acknowledge his bipolar disorder is heartbreaking, as if Mickey being shaken up after seeing his boyfriend's aloofness. Debbie finally winning the boy was a wonderfully light and heartwarming moment in a series of grim storybeats, and the Frank and Sammi's dynamic reaches a threatening crescendo (not the best subplot, but they have to give these characters something to do, I suppose). As it stands, Lip and Fiona's storylines are the most compelling, and although the likelihood of either Gallagher getting it easy for the remaining season 5 episodes is unlikely, I can't wait to see what happens next. Although, I can, sorta, cos I don't want this season to end . . . Grade: B+

JUSTIFIED 607. "The Hunt". It's all coming to an end. There are two standout sequences this episode: (1) Art and Markham having a face-to-face. If there's been only one strength this sixth season has mastered, it's these amazingly gripping dialogue bits with Markham and another character, be it Raylan, Boyd, Ava, or Art. It's a testament to the strength of Sam Elliot's delivery and piercing stare, but also to the extraordinary writing. This episode delivers a Art/Markham scene that will probably pay off later, but for now, it was just marvelous watching two pro speakers and actors playing off one another. (2) The Boyd/Ava scene out in the woods, where all gets revealed, and Boyd is faced with a terrifying thought about his sorta-fiance. It was inevitable that Boyd would find out, but I was, I suppose, hoping for more. As of yet, the Ava working for the Marshals has yielded no helpful results. There's been so much emphasis on her emotional state - and understandably so - but she has yet to really help the Marshals in any major way, and now the likelihood is Boyd will ask for Ava's help to steer and manipulate the Marshals to his will. For as strong as Joelle Carter has been this season, her character has less impressive. 

It's been too long, but Winona is back on our screens! It's a pleasure to see the beautiful Natalie Zea back in the JUSTIFIED universe, and I am all too pleased at the understanding she and Raylan arrive at near episodes end. That being said, it pretty much spells doom for these characters - the likelihood of a happy ending for these two is, shall we say, fairly slim. Another great element of this episode - and this season overall - has been Garrett Dillahunt as Ty Walker, who's now on the run from the Marshals and Markham, making him a dangerous beast. Each scene he's in with another character always has this edge to it, this sense that he could strike a lethal blow at any second, or that he's always in control of the situation no matter how dire. After the highly depressing departure of Choo-Choo last week, Ty is still strong enough a character to keep me glued, and now as a dangerous man with no allegiances, it'll be interesting to see where this goes. Mere episodes left . . . not ready for this to end. Grade: A-

24: Live Another Day

 24: Live Another Day

12-episode miniseries, FOX, 2014

Reviews are a comprehensive analysis of the entire aired season. Therefore, if

you haven't watched the entirety of 24: Live Another Day, read no further. 

Four years ago, I wrote extensively about the great, the terrible, and the bad of 24's eighth and then final season. 24 was a series I wholeheartedly loved from Senator David Palmer to President Allison Taylor, from Nina Meyers' betrayal to Jack Bauer's rampage of revenge and near assassination of an ex-President. It was with a heavy heart that I said goodbye to the series, but with such a whirlwind of a generally bad season in Day 8, that miraculously - and thankfully - concluded on one hell of a stellar high note, it seemed there was no better time to call quits, and what better way to end it. 

And then 24: Live Another Day was announced. With a killer premise - Jack Bauer in London! - and the promise of everyone's favorite non-superhero superhuman who isn't Batman returning from exile, man, I was stoked. A 12-episode miniseries, touted out as a "event" in every bit of press around . . . excitement was building! The potential awesomeness of this compact season could be. No filler, no loose ends going nowhere, no ridiculous melodrama, and best of all, the writers would be rejuvenated with creative ideas and renewed enthusiasm!

Ultimately, what 24: Live Another Day became was more or less the same of what we've seen before.

Typically, that's not a bad thing, but with all the pre-launch press, the sameness can't help but be a bit underwhelming. There is plenty of pleasure to be taken from that, to be sure - Jack Bauer's new rogue status allows him room to do things that he otherwise wouldn't necessarily be able to under government control, and that becomes highly, highly riveting drama. But the hope was that whatever was planned for these 12 episodes would justify the return, and, in a way, spoil the spectacularly appropriate and fulfilling ending Day 8 concluded on.

Things get off with a rocky start as the opening chapter, "11:00AM - 12:00PM", fails to really capture tension. Jack is back, indeed, badass-ly maneuvering a prison escape for himself and Chloe O'Brien that is thrilling, but the build-up, not so much. Aided by a Bad Guy in the form of Margot al-Harazi who has a vendetta against President Heller (last seen in the closing minutes of Day 6 in a brutal verbal sparring exchange with Jack) and commandeers U.S. military drones to exact her revenge against him and the UK. And there's this super awesome kickass agent Kate Morgan (Yvonne Strahovski) who's on Jack's trail, but soon becomes an ally. With Strahovski, who already has street cred as the spectacularly brutal Sarah Walker in NBC's late and great comedy series Chuck, it was a sure bet that her presence would add another layer of awesome to the proceedings. Overall, sounds pretty cool, right?

Unfortunately, those pesky subplots that was hopefully to be eliminated rear their ugly head. A mole inside CTU that propels the second subplot in a new direction! A President with a problem they're trying to keep hidden! A cool character with a sad history that's mentioned at least once per episode! The President's aid scheming behind his back! The bad guy is batshit crazy, and acts batshit crazy to their subordinates! Coupled together, these are all grievances that detract from making Live Another Day a solid installment in the series' overall pretty damn great history.  These are annoying problems that could easily have been avoided, or, at least, handled with a more delicate care.

What does work is Jack and when he's allowed to be Jack. With such a short time span to deal with, Jack's status as fugitive of the United States is dealt with a rather welcome speed, and soon becomes President Heller's only real line of defense against Margot. Making Heller President seemed like a contrivance at the beginning - and for the most part, the whole idea rather is a contrivance - but the benefits reaped by having this character in a position of power, especially one with a civilian history with Jack, is more than worth it. The early scenes between these characters as they become reacquainted are deeply rich, nuanced and compelling (as are Jack's interactions with Audrey, which is bursting with electricity and restraint). As the day progresses and a genuine feeling of trust - dare one mention it, friendship - is fostered, that's when the series really shines. Particularly "6:00PM - 7:00PM", where Heller makes a decision regarding Al-Harazi that he entrusts only Jack in executing. It's a brilliant hour of television, and portrays the Jack/Heller dynamic beautifully. 

And best of all, it results in one of the series' best lines, spoken by Heller to the CTU head, regarding Jack needing Kate Morgan's assistance in a mission:

"Jack wants her, Jack needs her, Jack gets her."

That also leads to the following hour, "7:00PM - 8:00PM", where that Rogue Jack status really gets to shine. Throughout the season, Jack's patience level has evaporated entirely, smarting off against anyone in his way, and refusing to take gruff from anyone he doesn't have to (namely, the President). It's also allowed him certain liberties, like dealing with problems any way he sees fit, as he does with Margot in one hell of a cold and amazing sequence involving large heights. The season finale, "10:00PM - 11:00AM" also features such a moment between Jack and Cheng Zei, who makes a wonderful return to the 24 after the largely misguided Day 6, to tie up another series-long storyline. The ultimate resolution between these characters didn't entirely reach the epoch of emotional intensity as it should have, given everything that's transpired between the two men, but regardless, having these two scarred characters face off again was a delight.

Chloe O'Brien's arc was less than interesting, as she removed herself from government employ and turned cyberhacker against her country, exploiting government secrets and working with a underground UK cyber operation. Her return works both as a emotional thread for Jack to hold onto, but also helps for plot purposes, as she helps solve Jack's problems all easy peasy and helps move the last subplots into place in the final episodes. Overall, however, it was probably one of the better uses of Chloe in the last handful of years, but like many things this season, failed to really resonate.

There are lots of pros and cons with this miniseries event, with more or the same, less of the new being a problem, but there were also amazing moments, like Jack's confrontations with Margot and Cheng, or Morgan's handcuffed murder of her torturer in episode 6, or the Jack-drone attack in the streets of London. Ultimately, it was an average season of 24.

In the end, the question becomes: what's the point? 24: Live Another Day didn't push as many boundaries as it should have, nor did it offer anything really fresh or exciting to really make the adventure worth it. Yes, it was beyond gratifying to have Jack Bauer back onscreen again doing his thing, but the way he came back - despite a real riveting episode or reveal here or there - just didn't reach the levels of excellence it should have.

The note the series ends on has is a frustrating one. Day 8 ended on such a poignant, beautiful note, so perfect for the character of Jack Bauer, that this new potential series ender just doesn't quite ring the same tone. Jack sacrificing his freedom for his only true friend is completely within the character of Jack Bauer, and in that sense, it's an appropriate ending, sure, but subjectively, Day 8 concluded with more resonance and power.

Screencaps from Screencapped.net.

Avatar: The Last Airbender - Book Three: Fire

Avatar: The Last Airbender - Book Three: Fire

Plot: It's crunch time for Aang who really needs to master the elements pronto before his fight with Fire Lord Ozai, which is coming up rather super fast, and he still has quite the way to go before being a master of anything.

Endings are hard. So much work and build up has been put into the seasons past, and with a (presumably) large and dedicated fan base having your back, the pressure is on. The ending needs to satisfy creatively, as well as to the audience whilst serving the story. Here we have AVATAR, finishing its final act in a three-act epic tale, where lines and drawn, allegiances change, and the ultimate showdown is fast approaching with a worrisome under-skilled savior.

Season one was the light-hearted introduction, with emphasis on character mischief and crazy adventures. Season two held the task of further developing these characters, providing more beats of the Avatar mythology, and overall indulging in a darker tone to reflect the gravity of the situation. Hope is fading, the Avatar is in hiding, and Fire King Ozai will soon harness unbeatable power. As per the prerequisite of a final act, the stakes have never been hire, and the hero has never fallen lower –

-- only to rise higher than ever before.

This is a kids show, mind you. And just like the last two seasons, I am flabbergasted by the adult nature of this series. Here we have a 12-year old Savior who is overcome with fear – fear of what winning will mean, fear of failure, fear of having to take a life, fear of having to even fight. Lives are on the line, and extremely young characters are forced into very adult situations and make very adult decisions. Take away the fantasy aspect of THE LAST AIRBENDER, and you have one hell of a fantastic guide for Building Character. That aside, BOOK THREE: FIRE is akin to REVENGE OF THE SITH in tone, but with a happier ending. The world is very dark, no doubt about that, but amazingly, the writers still have the opportunity to throw in plenty of comedy into the mix without feeling forced or out-of-place.

Every season feels meticulously thought out, and this is no truer than in BOOK THREE, where the creators and writers are presented with penning the finishing touches. FIRE is competently plotted and written, nicely balancing the humor, the darkness, the action, and the arc without one overbearing the other.

BOOK THREE: FIRE begins with a bit of catch-up of what’s been going on since Aang was so viciously defeated three months ago. Now in the Fire Nation, Aang, Katara, and Sokka are hiding in plain sight in the Fire Nation. While Prince Zuko and Fire Lord Ozai prepare for Sozin’s Comet and the power it will bring, the season spends the first few episodes allowing the characters to grow. Sokka and Toph become more adult, but still maintain their signature character traits; Aang is trying to control fire, face his fear of Sozin’s Comet, and overall regain his strength from being royally pwaned. The character that makes a rather frightful detour is Katara, who in “The Puppetmaster” learns the sadistic art of Bloodbending: consumed with rage while pursuing an investigation into her mother’s death, Katara learns a ‘skill’ that is intriguing, impressive, and horrifying. New realms of darkness seep through.

But not to let too much darkness overcome a kids show, FIRE also boasts two of my favorite AVATAR episodes: “Nightmares and Daydreams” is absolutely hilarious (and, at times, serious) as Aang is plagued by fear in his dreamscape, and “The Ember Island Players” (the last fun episode before the four-part series finale where things get deadly serious), a meta-esque episode that pokes fun at the series and also functions as a nice “looking back…” before the ending.

As Aang moves ever closer to his destiny, so does Zuko, faced with a morality that doesn’t adhere to his father’s plans and wavering in his allegiance. After his brilliant arc in BOOK TWO: EARTH, Zuko is given one amazing finale. This series, as I think I’ve said before, is just as much Zuko’s as it is Aang’s, and with both of their destinies reaching their culmination in the four-part series finale, this point has never been more clearly shown. Without giving too much away, Zuko is given a very satisfying arc this series, and just as multi-layered the show is, gives the character time to scratch his darkness, indulge in his more light-hearted side, and face a new dynamic that creates new story beats that better serve the show.

So, basically, AVATAR: THE LAST AIRBENDER is firing on all cylinders.

If one has already followed the series this far, obviously, don’t stop now. Finish the blasted thing. If you’re reading this without prior knowledge of the series, I can’t recommend enough to check it out. The series is a testament of marvelous storytelling, and genius plotting and creativity. Satisfying both the kid and adult demograph, whether or not to watch the series should be a no brainer.

In the end, BOOK THREE: FIRE is extremely well crafted – just like its predecessors – but oddly, I still find myself fancying BOOK TWO: EARTH over WATER and FIRE. Perhaps I’m just a fan of the second act structure, or perhaps the pacing, I feel, was better or the stories more awesomer, but EARTH is pure magnificence, and FIRE is a close second. The resolution to the big Aang vs. Fire Lord Ozai arc is okay. Visually, very much awesomely stunning, and the battle royale is definitely one to be remembered. Unfortunately, there does seem to be a Deus ex Machina vibe to the whole affair. That said, it was still entertaining and extremely breathtaking. All I can say is: Wow. Wow. WOW.

AVATAR, you were three seasons of sheer awesomeness. One of the true great animated shows ever made. Thank you.

Rating: 8.5/10 = Brilliant. Satisfying conclusion to a brilliant series.

Dollhouse: Season 2

Dollhouse: Season Two

Starring Eliza Dushku, Harry Lennix, Fran Kranz, Tahmoh Penikett, Enver Gjoka, Dichen Lachman, Olivia Williams, Amy Acker, Miracle Laurie, Alan Tudyk, Summer Glau.

Created by Joss Whedon
Transmission season: 2010
FOX, 42 mins., 13 episodes

Plot: Echo (Dushku) plots to break out of the Dollhouse, and bring the Actives with her before the evil corporation Rossum take over the world with technology.

“This woman doesn’t exist. She literally doesn’t exist. And she builds herself from scratch. To me, that is the most powerful act that a person can do.” – Joss Whedon. "Defining Moments", Dollhouse Season 2 DVD

The Awesome Second Season

Biased. I love Joss Whedon. He's Godly. Brilliant writer. Brilliant creative brain. Brilliant all around. Dollhouse - wasn't so keen on calling it brilliant. Season One had its ups and downs like any show trying to gain its footing. Eliza Dushku was good, but overall, unless her particular personality was a kickass woman who took no prisoners, her characters were primarily sexual in nature and didn't amount to much otherwise. They simply were stories that needed to be told, but weren't high in entertainment value. As I write this, I'm thinking specifically of the blind woman episode in season one. Luckily, after the whole Alpha incident in the final two episodes of last season, the show began shifting in another direction, and that is why I used the above quote from the DVD special features.

Also, if none of what I just wrote doesn't make a lick of sense to you, I implore you to familiarize yourself with Dollhouse and, more importantly, Joss Whedon.

This show is about technology, yes, about the use and abuse of it. This show is about what makes a human being - what are the parameters that make up a person, a personality, etc. This show is about the moral and ethical boundaries of the Dollhouse. This show is about characters placed in insane situations. This show is about greed and corruption and control of major organizations. This show is about saying this is who I am, I created me out of my choices and experiences, and I am a full person.

Season two is all about Echo's journey. No longer is she simply an Active whose memory is erased after each engagement. She remembers. She can channel the 60+ persona's traveling around her head. Those personalities don't make her, she makes herself around them. This year is thirteen episodes focusing on the creation - the building - of a full-fledged person who technically doesn't belong in its body. That conundrum of ownership over mind and body, of becoming a person are strong ideas, and as only Joss Whedon & Co. could manage, lend itself to one hell of an amazing second season.

No, this year is not without its hurdles, but that's to be expected. The first four episodes re-introduce us to this world, to Echo's mission to free the Actives of the confines of the Dollhouse, to Topher's genius that will eventually result in Rossum's mastery over the globe (or at least Los Angeles), to Adelle's manipulative self, and Ballard's affection for Echo and his equal drive to destroy the Dollhouse from within. After the stand-aloney first few episodes, the season kicks into gear, and it's a relentless ride from there on out that will make you press "Next Episode" over and over (or at least do the "Play All" option uninterrupted and put in the Next Disc ASAP). Dollhouse gets good. Real freakin' good.

As if noticing Joss & Company were upping their writing game, the actors did likewise. Enver Gjokaj absolutely amazes with his many spot-on impersonations (his Topher is nothing short of genius), making him the absolute greatest, versatile actor of the whole series. Seriously, that man could easily steal a scene from Dushku. His character's growing relationship with Serena, played with subtle and powerful perfection by Dichen Lachman, is just another of the many strong relationships on the show, but is definitely the one that will leave the biggest impression. Fran Kranz is another acting force to be reckoned with as Topher, a character who experiences substantial growth throughout the season. In the beginning, he's a cocky, ego-maniac who doesn't really give a damn about the world and fails to see the Actives as people, but he slowly grows a sense of morality and acts against a greater, more powerful force in an attempt to stop the Dollhouse equivalent of Judgment Day. Olivia Williams sells the stone cold hearted bitch that is Adelle DeWitt, and then miraculously in some cases, make us warm to her. Another stellar performance.

These actors are on fire, and I can safely say with all honesty that Dollhouse is working watching just to see them in it.

If none of the ideas Dollhouse posits or explores interest you, then don't watch. But if they do, and the notion of seeing Buffy/Firefly/Angel alumna's Amy Acker, Alexis Denisof, Summer Glau, and Alan Tudyk is enough to make you salivate, I don't hesitate in recommending Dollhouse. The first season was good, the second season is great fun. Twists and turns and cliffhangers with each episode. Adelle DeWitt's bitchiness reaching new levels. The insanity of the Attic and the revelations that come after that. The season-worth of stories compacted in the last gripping four episodes. It's a fun ride, with some great concepts, and should not be missed.

Rest In Peace, Dollhouse

Dollhouse was not renewed for a third season. Doubt they expected to be. As a (sorta) happy result, Terminator: The Sarah Connor Chronicles was granted a sophomore season pickup, which also ended up being its last. Both shows are nothing short of brilliant. The love and affection for the stories being told is plain to see in every episode of both Dollhouse and T:TSCC. These are wonderful, magnificent shows that should not be missed under any circumstances. Although it is, of course, sad to know the story ended years prematurely, what the creators and producers achieved in those two seasons are extraordinary. Great science fiction, great television. Rest in peace, Dollhouse.

Rating: 8/10 = With a clear direction and confidence in creativity and storytelling, Dollhouse: Season 2 is must-see TV for fans as it brilliantly mixes action and grand themes in a science fiction-y backdrop.

Avatar: The Last Airbender - Book Two: Earth

Avatar: The Last Airbender - Book Two: Earth

Starring the voices of Zack Tyler Eisen, Mae Whitman, Jack DeSena, Jessie Flower, Dee Bradley Baker, Dante Basco, Mako, Grey DeLise, Cricket Leigh, Olivia Hack.
Created by Michael Dante DiMartino & Bryan Konietzko.
First transmission date: 17 March 2006.
Nickelodeon, 20 episodes, 24 mins.

Plot: With Katara as his water-bending teacher, Aang and Co. set out to find a earth-bending teacher, and he rather needs to do this quick for time is running out quite quickly as new information is revealed that could lead to the Fire Lord's destruction.

Intro

Whenever there are seconds of something, natural progression states that the second helping must have more, must be more complex, darker, with higher stakes. This has happened with multiple franchises, like The Empire Strikes Back and The Temple of Doom. It’s a natural order the creators and producers of The Last Airbender adhere to.

At the end of Book One, Aang was successful in saving the Northern Water Tribe, but it came at a cost – entering his Avatar State, he has no control of his choices or power, his entire self completely given over to this raw power, and it terrifies him. As a result, throughout this Book and the following third and final Book, Aang is petrified of losing himself. And with threats facing him and his friends at every corner, the need for entering the Avatar State becomes bigger and bigger.

As Zuko and Iroh are on their own once again, trying to craft lives for themselves outside of the Fire Nation, the villains of this piece is Zuko’s sadistic sister Azula and her two friends Mai and Ty Lee. Together, the three girls are make for a terrifying opponent, and just might bring Aang down to size. Azula is often described as a “monster”, at least by those who have the misforune of being her victims, and she completely lives up to that description. She is ruthless, merciless, without compassion or anything that doesn’t expressely concern victory for the Fire Nation – or whatever fits her needs at the time. The strongest and most sadistic opponent Aang has yet to face, she will continue to hunt him, and in the end, Aang will be stronger for it. Azula’s ‘friends’, Mai and Ty Lee, are not as evil – although with their talents, they are still quite deadly.

Next to Aang, the single character to gain the most development this volume is Zuko, who is engaging in a battle within himself. He can’t decide where his loyalties ly, what his destiny is – if he even has any – and most importantly, who he wants to be. The end result is something completely unexpected and tragic for the character, but watching Zuko undergo this crisis is riveting storytelling, brought to life masterfully by the animation studio and voice actor Dante Basco.

Katara and Sokka continue their journeys from Book One “Water”, still intent on finding their father, helping Aang, and overall providing the comic relief and tension to the group. “Earth” isn’t their strongest season from a character standpoint – although Katara does have some strong scenes with Zuko later on – but they are nonetheless a integral and funny part of the team and show.

But here's the most important aspect of season two: Toph! The blind Earthbender, Toph is awesome, hilarious, kickass, insatiably quotable, strong willed, well rounded, and never fails to grab our attention. Plus she's interesting, the blind girl who runs away from her tight, protective parts to embark on a journey of excitement and inevitable danger. Thanks to clever scripts, awesome character design and brilliant voice over work, I can't fathom another awesome and strong female character on the tele matching Toph at all. Oh Toph.

This season is all about character development, and characters making choices that will impact the outcome of the upcoming war. Life and humanity is brutal - but there's still hope, seems to be the closing sentiment of the season. Toph may overshadow Zuko and Aang cos, y'know, she's awesome, but this is undeniably their season, and it is riveting.

Book Two: Earth

As expected from a season where I have already given plenty of accolades, “Earth” has no shortage of stellar episodes. First, I want to point out “The Chase”, which features the best animated fight sequence of all time. Hell, maybe the best fight sequence of all time. It’s a eight-way battle in a western setting as the elements literally clash with each other. Staggering, and I was hooked as hell watching it. “The Cave of Two Lovers” is a fun episode that gives greater hints of the Katara/Aang relationship that is a slow time coming; “The Blind Bandit” is nothing short of terrific, and a splendid introduction of Toph; “Zuko Alone” is fantastic, following the titular character as he searches for his place in a world that won’t receive him; “Bitter Work” has Toph hammering in some Earthbending skills, which Aang completely sucks at; “The Library” is a wonderful ep that is important to the shows mythology and really starts the ticking clock of the series; “The Tales of Ba Sing Se” is a nifty anthology episode with several stories going on simultaneously with our lead characters – not overall important to the narrative, but it’s fun and gives greater emphasis on character; and the last three episodes of the season, “The Earth King”, “The Guru” and “The Crossroads of Destiny” together make some of the most compelling television I have ever seen…and I’ve seen a lot.

There’s no one episode that is rubbish. They all end up serving some greater purpose later in the series or at least provides us with some character detail we didn’t have before. I can’t say enough good things about LAST AIRBENDER, and season two is a particularly prime example of its awesomeness. The writing is top material, the animation continues to push the boundaries and is nothing short of startling, the music is extraordinarily engaging and beautiful, and the overall story is a sweeping epic not unlike the above mentioned Empire Strikes Back.

A few episodes on, the season is noticeably tighter. No longer interested in multiple standalone episodes in successive order, “Earth” feels very much like one volume that has a beginning, middle and end…that just happens to pick up again in a third volume. Tight, satisfying narrative, and full of tension and excitement and drama, “Earth” is, in my opinion, the best of the three-Book saga. Plus it doesn’t hurt that I love Toph, the coolest female character in the universe.

Toph’s journey and Zuko’s inner struggle make “Earth” must-see television, and elevates AVATAR: THE LAST AIRBENDER from a intriguing children s show with adult themes to something unforgettable and recommendable to everyone of all ages.

Fringe: Season 2

Fringe - Season 2

Created by Roberto Orci, Alex Kurtzman, J.J. Abrams
Starring Ana Torv, Joshua Jackson, John Noble, Lance Reddick, Jasika Nicole, Kirk Acevedo
Transmission season: 2009-2010
FOX, 23 episodes, 43 mins.

Plot: With new information about a oncoming war between this world and the other, Special Agent Olivia Dunham, Walter and Peter Bishop face shapeshifters and enemies of the Other Side as a plan of attack is underway. Meanwhile, a dark secret Walter harbors may spell doom for the team.

Sophomore slump? What of it? The FRINGE writers, actors, directors, and producers don't fall victim to this frequent demon in the ass, instead making the second season of FRINGE even more brilliant, even more complex, even more emotional and tragic and exhilarating than the first, and that's a difficult thing to pull off. All twenty-three episodes encompass the best of television. Even the quasi-stand alone episodes.

Now, every family have their own little secrets and complications - it's a way of life, pretty much Luckily, 99% of those families don't have to deal with the threat of quite possibly causing Armageddon and igniting a war between two universes. Unfortunately, that is the dire consequence if Peter Bishop learns a terrible truth that his father Walter has hid from him for all of his life. Secrets, lies, and the burden of truth weigh on the family, and this season, more than the last, is all about the dynamic between Peter and Walter.

Similar to LOST, this show excels when it comes to the characters. You can throw as much awesome scientific catastrophes in a episode as you want to, but the slightest mournful look from John Noble's Walter Bishop or the angry expression of Peter can absolutely turn your stomach and rip your heart into pieces. The writers know where the shows strengths lay, and they exploit it well. It helps that the show boasts such a strong cast, for sure. Concerning Anna Torv as Olivia Dunham, she is often cast at the sidelines with few exceptions (such as the episodes dealing with her abilities and other Cortexiphan trial children), and it's a tad disheartening to see her used in such a limited capacity. As a result, moments of true emotion and heavy material doesn't get the treatment it deserves. For example, fives episodes in a fan favorite character and longtime friend of Olivia's is revealed to be dead, but reaction-wise, other than a choked up line of sadness, one doesn't fully get the weight of her loss. Of course, it could be argued it keeps in line with Olivia's character, of always hiding her emotions and keeping herself mentally and emotionally in check, but it's a shame. Therefore, making a judgment on Olivia Dunham is sort of difficult: on one hand, you can say she doesn't emote enough, but on the other hand, it does stay within character.

The actors are superb, the scripts clever and twisty turny, the music is gorgeous, and the overall program is addicting. For anyone looking for the Next Great Show in a post-LOST world, look no further, this is it, right here.

One of the gorgeous things about this show is its capacity to have Case of the Week standalone episodes still feel very vital in the grand scheme of things. "What Lies Below" is a fine example of a otherwise standalone episode that actually carries far more weight in the overall story arc of the show, as in Walter's guilty conscious and more hints about Peter's past.

Season two also has no shortage of stellar episodes. "Grey Matters" which investigates the danger of Walter's past experiments and his overall intelligence; "Jacksonville" where Olivia needs to channel her abilities and pinpoint what building will be disappearing in a matter of hours and evacuate it before it goes bye-bye; "Peter", the much-anticipated flashback episode providing answers for certain things Walter mumbled under his breath over the span of the past fifteen episodes; "Olivia. In the Lab. With the Revolver" offers further insight into the effects of the trials induced on Olivia and others like her by Walter and Bell; and of course, the two-part finale "Over There" which provides so many awesome ideas and one hell of a jaw-dropping cliffhanger finale that will undoubtedly lend itself to one stellar of a third season.

FRINGE - SEASON 2 is just as epic, dramatic, comedic, and amazing as the first, and it shows no sign of stopping its apparent boundless creativity. It's quite similar to another brilliant show on the airwaves right now: SUPERNATURAL. As each season passed, the mythology grew from a simple one-line premise of "two brothers on the road hunting demons and monsters" to Apocalyptic heights, and the same applies here. No longer is FRINGE a show just about "science gone awry" in the world, but about a war between two worlds and two fathers. I understand FRINGE may not be for everyone, but I still strongly recommend a watch. The performances alone are extraordinary and well worth it, but if it helps, I'd give it kudos based on the super nifty and highly interesting sciences exploited week after week.

The Vampire Diaries - Season 1

The Vampire Diaries - Season 1

Developed by Kevin Williamson and Julie Plec
Starring Nina Dobrev, Paul Wesley, Ian Somerhalder Katerina Graham, Steven R. McQueen, Candice Accola, Sara Canning, Zach Roeing, Michael Trevino, Matthew Davis, Kayla Ewell, David Anders, Mia Kirshner, Melina Clarke, Margauerite MacIntyre
Transmission season: 2009-2010
The CW, 22 episodes, 41 mins.

Plot: Mystic Falls, Virginia is plagued by mystical beings, and at the center of it is Elena Gilbert and two vampires fighting for her affections.

I can’t believe I’m going to say it. I can’t believe I’m even thinking it.

I should probably be declared legally crazy or something. Alright, here’s me taking a deep breath. Okay, time to take the plunge:

THE VAMPIRE DIARIES is actually a pretty damn good show.

It has absolutely no right nor expectation to be. For one, it airs on The CW, a channel that, with the exception of SMALLVILLE and SUPERNATURAL, excel in really crappy teen ‘romances’ and scandals. Secondly, in case you haven’t noticed, we’re still in the midst of TWILIGHT frenzy, with vampires – shows and movies and memorabilia – friggin’ all over the place. The idea of another program with vampires, let alone that stereotypical human/vampire love story right smack in the middle, being on the air wasn’t very enticing and what would have been the probability it would be remotely good?

Well, it’s probably not right for me to do so, but I think the success of VAMPIRE DIARIES rests nearly entirely on the shoulders of developers and showrunners Kevin Williamson (SCREAM, DAWSON’S CREEK) and Julie Plec (KYLE XY). See, this is much, much more than just a vampire show. Yes, there’s the romance between a human and vampire; yes, there’s the usual clichéd problems that plague that relationship; yes, there are hints of other supernatural creatures (i.e., werewolves) lurking in the dark; and yes, there’s plenty of angst. But the show is also about history repeating itself and the crimes of the past still having ramifications on the future. There’s witchcraft, which plays an integral part of the series. There’s even a doppelganger of our lead actress, Elena, and more backstory and questions relating to her than I would have ever guessed. Williamson and Plec have crafted a highly dimensional, ‘real’, and dare I say complex series that successfully kicks TWILIGHT’s ass, and – sorry TRUE BLOOD lovers – is far more interesting than HBO’s flagship series.

Let me back up a bit. Alright, this show takes place in Mystic Falls, Virginia, a peaceful little town (now) that has quite the history of vamps. Only select administrative personal know about the existence of the supernatural, but have yet to put their knowledge to the test…what with the lack of vamps and everything. But with the return of the Salvatore brothers to Mystic Falls, vampires follow. Stefan Salvatore (Wesley) is basically Angel and Edward: conflicted, remorseful about past mistakes, intent on doing good and making up for his horrors. His brother Damon Salvatore is the wild card: seemingly without a conscious, he kills when he wants to and has bloody fun doing it. Pissed off at Stefan, it’s pretty much his afterlife mission to make his brother’s life as miserable as possible, and with his return to Mystic Falls, he’s fulfilling his promise. Enter Elena Gilbert, a teen at high school who captures Stefan’s attention, and voilia the romance starts (cos, y’know, he’s dreamy). Elena has a bit of tragedy in her life – a year ago her mother and father died, and she and her brother are now under the care of her Aunt Jenna. Brother Jeremy is a druggie, not very interested in school, and Elena was once the prized girl at school but now shuns away from the spotlight. She has a best friend Bonnie, who was just told by her grandmother she’s a witch, which, of course, she finds totally bogus (wrong move, Bonnie).

The main questions and plotlines of the season are fantastic: supposedly, there’s a tomb underneath Mystic Falls that houses 27 vampires from 1864, and someone is hell-bent on getting them freed; Elena is an exact doppelganger of Katherine, the woman who turned Stefan and Damon into vampires, so how she has such a remarkable resemblance and what her connection is to their maker is also a question that reverberates throughout the season. A lot of events of the past, particularly concerning the Gilbert family, come back to bite everyone on the ass, culminating in a Founders Day ceremony where all hell breaks loose.

And, because this is a teen show, we have the usual but necessary character hookups and breakups; the jealous ex-boyfriend who has been a true friend since childhood; the ‘will they?’ relationship between Elena and Damon (perfectly valid question; those two ooze chemistry ten million times more so than her onscreen boyfriend Stefan); and the best friend who breaks away due to disagreements. Oh, and that their bodies are undergoing…ahem…changes.

I’m sure that probably doesn’t sound entirely appealing, but truth be told, it pretty much is. Full honesty: alright, the first four episodes of VAMPIRE DIARIES were highly bad. They were nearly carbon copies of TWILIGHT with only hints of the great show it would become. The moon eyes with Elena and Stefan, how the two ended up together, and some of the worst dialogue of the show ever that just pained me with (which is difficult to do, seeing as how this is such a remarkably witty and well written show). But once you get over those unsettlingly bad episodes, the show picks up the pace really quickly, and I dare say you’ll find yourself zipping through episodes rather quickly. Plus it helps that there’s now five episodes per disc instead of the frustrating four. That was nice.

Full disclosure: never been a fan of Paul Wesley (FALLEN). No offense to his acting skills, just never really been a fan. I think he has that Justin Bieber syndrome where I simply can’t take him seriously. He’s absolutely fine as a tormented, guilt-ridden vampire, truly, I just can’t hop on the Wesley-loving bandwagon. Ian Somerhalder (LOST), however, rocks. Ian owns this show from the moment he first appears, and he knows it. Somerhalder’s Damon gets all the fun: the one-liners, the sex, the kills, and the coolio outfit, and it’s obvious just how much Ian is enjoying playing the part, and we’re enjoying watching him kickass in it. Even though Stefan gets an interesting character arc later in the season (dealing with human blood and urges), it is Damon’s arc that is most interesting, whether he’s a thing that deserves to seek redemption, whether he wants to be a better man, what his true motives are, etc.

But let’s not discount Elena, played by Nina Dobrev (THE ROOMMATE) who is leaps and bounds superior to Bella Swan any day of the week. Elena is a confidant, intelligent, decision-making woman, and although she does end up getting herself in shitty situations that require her to be saved by a superpowerd vamp, she never comes across as helpless or damsel-in-distress. It’s a testament to the character and Nina’s stellar work. This is a pretty large cast, so I can’t really get into all the specifics, but Steven R. McQueen, who plays Elena’s brother, is pretty good and gets some juicy material to work with. Katerina Graham is Elena’s best friend who just happens to be a witch, and when she gets her witch mojo on 100%, Katerina is frightening and there’s no doubt of her power. Melina Clarke guest stars and does her thing, David Anders and Mia Kirshner also guest star in pivotal dual roles that directly tie to the mythology.

Basically, let’s just say it’s a well acted show and is better that it has any right to be.

If you don’t have any interest in VAMPIRE DIARIES, I totally get you. I initially was all “stay away!” and aiming my crucifix this direction, but by the beginning of disc two, it got my attention, and I started liking it. I’m not saying it’s a terrific series by any stretch, perfect episode to episode, but it’s fun, it has multiple layers of mythology and character development, it beats the shit out of TWILIGHT, and is actually something respectable. Is it the next BUFFY? Hell no. No one and nothing can replace that magic, but it’s a good, dark substitute.

Human Target - Season 1

Human Target - Season 1

Developed for TV by Jonathan E. Steinberg
Starring Mark Valley, Chi McBride, Jackie Earle Hartley
Transmission season: 2010
FOX, 12 episodes, 42 mins.

Plot: Specialist Christopher Chance and associates fight crime, save the day, and get a smooch from the damsel in distress week after week; think MISSION: IMPOSSIBLE, but less possible.

Good ol' action action shows. Initially put off by the standalone quality and quick-to-axe FOX channel, it wasn't until recently I checked out the show via library rental. Turns out, HUMAN TARGET is a pretty entertaining show. Indeed, it is nearly entirely standalone. With the exception of the lingering question of who Christopher Chance is - this man who is seemingly reckless and more than willing (and perhaps even having fun?) to put his life in danger - the show remains largely concentrated on the hot women and the action. Not like I'm complaining. There's just enough mythology and foreshadowing episode to episode one won't really mind, especially when watching episodes in rapid succession through the good grace of DVD instead of waiting on a week-by-week basis (ick). The gunfights, hand-to-hand combats, and utterly insane stunts are major amounts of fun to watch, the women are gorgeous, and the show never fails to entertain.

Mark Valley was underutilized in BOSTON LEGAL, the show I primarily associate the actor with, so it's quite refreshing to see multiple aspects of Valley's abilities on display here: not only does the legal side make a appearance in a episode, but we get to see (as expected) Valley easily dispatch bad guys with some awesome hand-to-hand combat fights, swerve through traffic during heavy car chases, jump off exploding trains or helicopters, and overall perform amazing and impossible feat to save a life. No matter the absurdity of the situation or the average unspectacular script, Valley has this amazing ability to deliver each and every line or punch like he's quoting friggin' Shakespeare. In summation: Valley has charisma, and the ability to kick some ass, making his pretty much perfect for this role. Unfortunately, the same can't be said for Chi McBride, who falls into the 'generally good' category, but I can't help but feel he is somewhat miscast. In the opposite side of the spectrum there's Jackie Earle Hartley of WATCHMEN (and to some, A NIGHTMARE ON ELM STREET) fame who is bloody brilliant as the "Hey, dude" Guerrero, a man who has many connections and can seemingly accomplish anything with a computer. Streets smart, resourceful, humorous, and lethal, Hartley makes this show just as much as Valley does.

HUMAN TARGET has no shortage of guest stars, to the point where it could be argued that without the action and Valley's charisma, the Guest of the Week help make this show what it is. Geeks will find themselves having a picnic pointing out all the science fiction alumnus to grace the shows screens: Tricia Helfer, Alessandro Juliani and Grace Park of BATTLESTAR GALACTICA, Moon Bloodgood of TERMINATOR SALVATION, Sean Maher of FIREFLY, Amy Acker of DOLLHOUSE, Lennie James of JERICHO, Emmanuelle Vaugier of SMALLVILLE, Timothy Omundson of XENA, Courtney Ford of DEXTER, and Sam Huntington of SUPERMAN RETURNS just to name a few. Acknowledging the guest stars is just as much fun as watching Christopher Chance perform a daring rescue mission or whatever crazy stunt the story mandated.

If there is any folly with HUMAN TARGET, it's the near constant use of that "8 Hours Earlier"/"14 Hours Earlier" device that is just lame and lazy storytelling. On occasion, a show can survive it by using the device really well, but to use it in, I'll get 10 of its 12 episode first season, that's a bit on the overdose side. It does sometime work in the context of the show, providing the action scene first and then how they got to that point, but to use it all the time...? That said, HUMAN TARGET was a helluva lot fun, and not just cos the gorgeous ladies Chance surrounded himself with. It's truly a mini action movie each episode, and how can that not be cool? HUMAN TARGET flies in your face recommended!

Lost - Season 6

Lost - Season 6

Created by Jeffrey Lieber, J.J. Abrams, Damon Lindelof
Starring Naveen Andrews, Matthew Fox, Evangeline Lilly, Josh Holloway, Jorge Garcia, Terry O'Quinn, Henry Ian Cusick, Michael Emerson, Daniel Day Kim, Yunjin Kim, Emile de Ravin, Alan Dale, Nestor Carbonell, Zuleikha Robinson, Jeff Fahey, Ken Leung,
Transmission season: 2010
ABC, 16 episodes, 43 mins.

Note: This review is written with the assumption the reader has already watched the entirety of seasons 1-6, for there are spoilers abound.

Plot: It's a fight of good vs. evil on the island as the Smoke Monsters puts its plan into fruition to finally get off the island, and the LOSTies need to stop him to save everything they hold dear.

Letting go. What a powerful message, and one that seems utterly simple to execute. But it’s not; it’s difficult, and it goes against our nature. All six seasons of LOST, and especially this sixth and final season, is about each character on the show – including and especially Jack Shephard – letting go. It’s simply beautiful. No matter the amount of grievances fans point and shout at executive producers and show runners Damon Linelof and Carlton Cuse about the lack of answers or some other problem, what they have accomplished these last six years is nothing short of extraordinary, and they exit this grand show in spectacular fashion. All these years in the making, and the messages and themes the writers have explored since Day One come into fruition: the goodness and darkness within ourselves, free will versus fate or destiny, and of course, simply letting go. These wonderful and timeless themes are juxtaposed against a thrilling story of good vs. evil this season as the LOSTies face off against the Man in Black, briefly seen in the season five finale “The Incident”, the notorious Smoke Monster (“security system”?) of the island who wants nothing more than to be free.

Episodes
Juliet detonates a nuclear bomb. Um, okay. So...what the frak happens now? New timeline? Alternate reality? Nothing? "LA X" opens with everything as it should be: Oceanic 815 lands, all is good. Yet we flip back to the island, where everything has gone to shit again. Welcome to the flashsideways, apparently some sort of consequence of Jack's plan that doesn't seem to actually include them. Now that would suck: executing the bomb plan, only to not have yourself be brought back to the beginning. In this world, Claire's still preggers, Jack has a son, Sawyer's a cop, Desmond's the shiz, Kate's still innocent but fugitivy-Kate, Charlie still loves him some drugs...there's similarities and differences in what came before and what happens now. Watching the Sideways world unfold is one of the true delights of the season. With each clue, with each flashback to something that happened on the island or some sort of shout out, what the Sideways world is becomes a question that's just as exciting as 'how is it all going to end?'

On the island, friendships are crushed and unexpected allegiances are formed. The Man in Black is doing everything in his power to get the frak off the island, and many of the surviving LOSTies aren't exactly opposed to the idea themselves. However, the ghost of Jacob isn't too keen on his brother getting out, so he uses the LOSTies to foil his plan.

Anyway. So: answers. The Man in Black is the Smoke Monster. Alright, coolio. There are some confusing elements about past explanations of the Monster that doesn't seem to correspond with this revelation, but I'll go with it. Also, to no surprise, the LOSTies were brought to the island by Jacob as a means to protect the island when he's gone...which was, like, two days ago LOST time. Alright, I dig that explanation. I especially liked the whole lighthouse stuff, explaining how Jacob's able to leave the island and 'touch' each of the candidates in "The Incident" flashbacks. However, my only complaint is that he shoula oughta been preparing them or something all these years. Really, what was the purpose of staying idle until he got murdered to prep them? Did he wanna see who would be the last ones standing? And isn't Jacob more or a monster than Flocke for allowing all the non-candidates to die just for, what, six people? By non-candidates I mean casualties on the plane and the people who died since...Libby, Anna Lucia, Shannon, etc. I know, I know, reading too much into this.

Although each episode of the season was pretty damn good, my favorites include: "Sundown", which was one hell of a stellar episode. Sayid kicking ass! Smokey victorious! Now that's always good television. "Dr. Linus", where even in the Sideways world Ben can be a manipulative small person, but the best part was the interaction between Ben and daughter Alex. "Ab Aeterno" (of course), with every bit of its 48-minute running time as compelling and cinematic as a feature film; "The Candidate" is just plain extraordinary, from the emotional character goodbyes to the action packed moments; "Happily Ever After" is wonderfully written, and a brilliant tease at what the Sideways actually are; and "The End", which still has some problems creatively, but is still one hell of a exit and works on so many levels thanks to the powerful performances, script, and of course, Michael Giacchino.

I Are Actor
I love the entire cast, you know I do. I love 'em, and they are all fantastic. But there is one particular individual that deserves significant mention this season: Terry O'Quinn. Yes, he's done some absolutely splendid work for the show before, but nothing can compare to his performance not only as the Sideways John Locke but also the Man in Black. With words, MIB comes off as a pleasant man, but his face and eyes convey a animalistic, wicked personality, a snake ready to lash out if you displease him. Forget Jack, Desmond, Kate, Sawyer, or even Ben, but this season was completely Lockes, and Terry O'Quinn milked the opportunity for all his worth, and it was magnificent.

Not saying Michael Emerson didn't get to play. Gosh, no. It is true that for the majority of the season, Ben was mostly overcome with a guilty conscious about killing Jacob and being manipulated himself. Ben wasn't up to his normal games or standards we've known of him since season two. Instead, like many have noted, he sort of underwent a transitional period, slowly becoming one of the good guys that's officially cemented in "The End" with his anointment of No. 2. Now, is it possible to parade a actor with accolades because of one single episode? In "What They Died For", when Ben watches Richard being thrown into the jungle by Flocke, Michael Emerson gives such a cool performance. After seeing Richard disappear, Ben just has that face that says, Oh. He slowly walks to a nearby porch, sits down faceforward, and just waits for Flocke to show up, and when asked by him where Charles Widmore is, he coldly says "in my secret closet" (or something like that). Excellent, excellent performance, and one of my top five favorite moments of the season.

Naveen Andrews provides just the right amount of disconnect to Sayid's zombie-like state. Matthew Fox can do this role in his sleep, but luckily he doesn't sleepwalk through his performance, instead allowing Jack to smile for the first time in what seems like eons and actually lead without commanding. Josh Holloway gets his grieving going on in the real world, but it's his performance as a police officer in the Sideways that had me applauding and demanding a spin-off with Miles, played to perfection (once again) by Ken Leung. Jorge Garcia - he can do no wrong, and with his escalated importance to the story this season, he rises to the challenge and is one of the most memorable elements this year. Emile de Ravin shines most profoundly in "The End", not given much to do other than 'crazy girl' for most of the season. Henry Ian Cusick commands the screen just as strongly as Terry and Michael, and any episode with Desmond in it is a blast. Evangeline Lilly is thrown to the sidelines, unfortunately, but she gets her due in the Sideways. Yunjin Kim outshines Daniel Day with emotional intensity and complexity. Nestor Carbonell gives the audience something they've never seen before in "Ab Aeterno", and Alan Dale is basically Alan Dale. As for Zuleikha Robinson, she's....okay. At the end of the day, was her character really needed? Well, I guess she did provide the necessary exposition.

The Season
If there is one absolute, unequivocal, strength with the show, it’s its unwavering dedication to their characters. Toss in as many intriguing mysteries and mythologies into the mix as one would like, but at the end of the day, LOST (and the strikingly similar science fiction show BATTLESTAR GALACTICA) are first and foremost all about the characters, the good and the bad. This season, more than anything, is a complete service to these flawed people we’ve grown to love these past five seasons, as each of them make difficult choices and in the end, face their destiny.

Hell, the writing in general is just fantastic, and pretty much some of the best that was found on television. Week after week, be in present time, a flashback, flashforward, or trip into the Sideways world, the writers of LOST created such unique, individualistic characters with distinct voices and so many dimensions. If it wasn’t for the writers, the actors wouldn’t have such strong material to work with, and the emotional stakes for each character episode after episode wouldn’t be so high and involving. LOST deserves a lot of accolades, and next to the wonderful performances, the writing is next in line.

Since I breached the topic of writing, let’s take a stab at story and the flashsideways for a little bit. Season 1 was all character, Season 2 was about mysteries and questions, Season 3 more about destiny and choices, Season 4 – hell, I don’t know, it was all over the place: love, science fictionyness, action/adventure, etc. – Season 5 was time traveling and purpose, and Season 6 is a fight of good versus evil with the greatness emphasis on character than ever before. It seems appropriate for the series to culminate in such a biblical, mythical storyline. But next to that theme and continuing the character arcs, the writers brilliantly provide us with what seems like an alternate reality: what would happen if Oceanic 815 didn’t crash and none of this destiny mumbo jumbo stuff happened. The flight lands safely, and everyone goes on with their lives. There’s little differences here and there, and lines of dialogue that are callbacks to the first season [sort of OT: I cannot believe how stoked and in love I was when the Man in Black screamed at a ghost of Jacob: “Don’t tell me what I can’t do!” Goosebumps successfully bumped], and for the majority of the season, we, the fans, are completely stumped at what the hell was going on. What is the Sideways world? Why take up time in the shows final season to do this weird…thing? And when everything turns crazy in “Happily Ever After” as Desmond Hume starts a chain of events that lead up to “The End”, I was confused, worried, and filled with theories. How it all comes together and the final, painfully obvious in retrospect answer to what the Sideways world was is brilliant and just as emotionally moving as anything seen on television. I love what Lindelof and Cuse did with the Sideways, I love that this aspect of the story needed to be told. The series could not have worked without this new device, I now believe. It’s so important, so integral to these characters (and especially Jack), that there would be so much weight and story untold and unfelt with its absence.

So, the Man in Black, or ‘Smokey’, the big bad of the season, and, it seems, the entire series. Alright, I’ll give it that. I always love the theme of good versus evil, and won’t fault LOST for centering its final season on such a mythic storyline. But the more we get to see how the unnamed Man in Black came to be who he is, why he wants to kill Jacob, and what his whole motivation is, not to mention his upfront and rather suave personality, I don’t really see this entity of pure evil that, if unleashed, will cloud the world, as Jacob seems to think will happen. Yes, he did kill Jin, Sun and Sayid (and other non-Candidates), but either I’m a heartless bastard or just peculiar but that alone doesn’t make him an evil person. If Cuse and Lindelof failed in anything this season, it was their inability to make the Man in Black’s so-called ‘evil side’ live up to the hype. Instead, I quite found myself not minding the guy. He has a valid reason to hate Jacob by all means, and with the exception of a manipulative side (which Jacob himself has in spades), I get this character, and I don’t fault him. MIB just came across as a desperate man who will do anything to live.

On that note, R.I.P. Jin, Sun, and Sayid. Concerning their deaths, and I’m singling them out because I daresay they made the most impact, I thought there was some poetry and beauty to it. True to, say, the mind of Joss Whedon, it makes perfect sense to have the long-apart couple that once united must die. It just fits, and I applaud the writers for going that route, not to mention how stunning and beautiful and heartbreaking it came across on film. As for Sayid, it’s unfortunate that the kickass individual he could have been was unrealized, but just like Jin and Sun, there is something strangely right about Sayid being a emotionless shell of the man he once was. He felt nothing, he cared about nothing, and he had no hope or (seemingly) conscious. It was a fitting ending for the character, really, when he made his final choice.

One of the amazing things about LOST since the first season is it’s wonderful pacing. This is especially abundant from season four onwards. From the first episode of the season to the last, every beat and every episode feels perfectly placed and planned: where all the characters are geographically from beginning to end, where the characters are emotionally and story-wise, where the plot is at, etc. There’s this amazing coherency and inevitable destination vibe to the whole thing that I don’t see often. And this season is no different. In no time after starting ‘LA X’, we’re at ‘The End’, because the story moves so melodically and smoothly. There’s almost poetry to the whole thing.

I understand there were questions left unanswered, and I frankly didn’t expect any sort of Answer of the Week type thing happening. But there were a few that I felt were far too important and repeated that just didn’t get their just rewards. For one, this whole Walt thing. Now I get that behind-the-scenes, the actor playing Walt just grew up way too fast, so he had to go bye-bye. But all this emphasis on him (and other characters) being “special” [a phrase I so hate after being overused to death in HEROES] goes nowhere. Not even “The New Man in Charge” really shines a light in this area. I don’t care if it was an offhand comment about his specialness, like Ben just saying something to Hugo when Hugo says perhaps, “Hey, Ben, why were you guys all batshit about Walt, again? I forget.” One line, I’d be happy. But most importantly, I wanted a bit more details on the island. What I understand of the island comes much more from interviews with Damon and Carlton than in context of the show itself, and when that’s the case, perhaps there’s something wrong. I’m appreciative that we got “Across the Sea”, showing how long the island’s been around as well as its mystical properties; I appreciate season 5 with all the stuff about electromagnetism and Dharmaville. But the question Charlie asked in the “Pilot” remains largely unanswered. With the Man in Black being so intent on leaving his prison, it was the perfect opportunity for him to spout off some exposition like, ‘in my attempts to destroy/get off the island I discovered…’ Easy peasy. Yes, the characters were the number one most important element of the show, and they serviced them exceptionally well, but the question of what the island is – and more of its history – should be just as important. At the end of the day, obviously nothing I can do about it now other than guess and make up my own history and opinion of the place, but I just feel it was a important question that was left unanswered, and maybe to the shows detriment.

One last element – and perhaps one of the single most crucial if not the crucial – is the score, provided by Michael Giacchino. Anyone reading my LOST season reviews back-to-back will notice one thing in particular: I friggin’ love this guy. Each season Giacchino delivers new themes, new renditions of old themes, and suites that just sink your heart (in a good, I-need-a-cry type of way). With season 6 good and done, it’s safe to say that Michael Giacchino is truly one of the top five best composers working in the business today. You need proof? One could literally pick any episode at random and listen to purely the music, and the evidence is right there on the table. Without Giacchino’s transcending awesome score, would LOST carry the same emotional weight and impact it would otherwise? I personally vote no. No matter the writing or the outstanding and nomination-worthy performances, it’s completely the work of Michael Giacchino that brings everything home, that will, in the end, resonate with the audience more than the events of “The Candidate.” This season, Giacchino’s mastery over music is best exemplified in the season premiere “LA X” [as everyone gets off the plane for the first time since ever], and the series finale “The End” [the CD tracks “The Hole Shebang” and “Moving On” deserve awards on their own]. Seriously, my love for this man has basically cemented my seat in any movie he composes – with the exception of a HANNAH MONTANA sequel because I don’t think my conscious could cope (although it would be interesting to see how he deals with that…). So the point is Giacchino rocks, and one should appreciate the awesomeness of the music. There’s a reason he wins awards (although I wouldn’t necessarily had given it to him for UP).

In the end, season 6 of LOST is a masterpiece of television, of storytelling, of staying true to characters, and of maintaining the same integrity, originality, and brilliance since day one. For all the naysayers who aren’t interested in LOST (and subsequently most likely wouldn’t be reading this, but in the off-chance you are, this is for you), I absolutely recommend it. Initially I wasn’t in the fan-loving league, either, wondering where the excitement of a show about people stuck on an island could possibly come from. But lo and behold, I was captivated from the “Pilot”, and I will think of this show often and analytically. It demands careful attention; it demands thought and self reflection. It demands to, most importantly and impossibly, let go.

Series Review
I had watched Season 1 long before I started really getting into the show, and although I felt it was a very good show, I wasn't particularly enthused to continue. That and the library didn't have the next season (this was before I had Netflix). So for over a year I had seen those first twenty-plus episodes and read some spoilers on the island shenanigans (knew about the time travel aspect of season 5; knew about a few deaths here and there and the infamous Nikki and Paulo storyline), but never really gave it a shot. Then with the info that the final season was about to start, the girlfriend and I thought it'd be fun to fast-track through all previous five seasons and (by that time) the season 6 episodes that had aired by the time "The End" aired. So, in mostly rapid succession, we watched the first, second, third, fourth, and fifth season, and only three of the season 6 episodes before we decided "screw it!" and watched the series finale. I know, I know, dumb choice and all, but it's not as if I was overly spoiled by some aspects.

The entire series is amazing, and it's just as amazing to see the continuity from episode one to the last. Although it does feel like this one grand over-arcing story, anyone else feel there's a sort of double trilogy thing going on? The first three seasons were purely island and character stuff, and the last three was time travel, character, fate material. Just thought it was an interesting observation.

So, my favorite seasons in order: 5, 6, 3, 4, 2, 1. Five is just superb. Six was, as you've read, great. Three was compelling as hell. Four had a good middle and end, rough beginning. Two was pretty damn good. One I need to rewatch again, but still loved. Basically, I loved them all, and a complete series marathon is mandatory during the summer. Perhaps I should post my thoughts here. Again.

I would be remiss to end my coverage of LOST without mentioning something no fan of the show should be without. First and foremost is Nikki Stafford's comprehensive and always enlightening FINDING LOST books, delving into the mythology, characters, mysteries, theories, and other anecdotes relating to the series that is absolutely riveting and insightful. $14.99 a piece, these are must-owns in any fans collection. Online, I direct you to We Have to Go Back - A Year-Long LOST Rewatch. At the time of this writing, they're six episodes into season 2, and their insights and retrospective look is always worth a read. Coming from a vantage point of people who had already seen the entire series, they note correlations with later seasons, themes, character arcs, dialogue motifs, etc. Great stuff.

In the end...
I'm glad I watched LOST.

Misc. Season Notes:
- It was fantastic and immensely satisfying to have Nestor Carbonell elevated in his importance to the story, and he gave hell of an great performance each episode, making him undoubtedly a series highlight.
- Miles: "Well I lived in these houses 30 years before you did... otherwise known as last week.”
- Jack in the Sideways: I loved the continuous nods to Jack's fate from "LA X" all the way to "The End", with the puncture wounds showing up on his neck and side. Moments like that just make me giddy.
- Juliet. Not entirely sure if it was necessary to have Juliet in "LA X" just to die at the end, because really, I don't think her presence in the premiere helps the story along at all. There's dialogue between Sawyer and Juliet that echoes "The End", but when Miles reports her last thoughts ("it worked") it doesn't really mean anything to the characters but more to the audience, so I question her inclusion, welcome as it may be.
- Crazy hair Claire. Yikes.
- Dialogue and STAR WARS references at an all-time high, although nothing can quite compare to Hugo rewriting THE EMPIRE STRIKES BACK in season 5.
- Even though it was a tad corny at the beginning, the Jack vs. Flocke fight in "The End" was epically awesome. There's even a pretty decent YouTube rendition of this fight with lightsabers!
- Benjamin Linus and Charles Widmore's final moments in "What They Died For." Fantastic.

Goodbye, LOST!