Netflix Streaming Has Consumed My Life!

Damn Netflix Streaming!

A bit ago, I made a proclamation that my having high speed internet access and relatively not too difficult classes would make time for me writing on this here blog. Turns out, I may have spoke too soon. The very thing that I expected would make blogging easier has been my undoing, both in the blogosphere and in my homework doingness. 12 days ago, I started season 1 of a show I caught miscellaneous episodes of on Channel 45 in the wee hours of the night, giddy that I could finally watch six seasons worth all in order. What show may it be?

How I Met Your Mother had always been a fun half hour when I caught random episodes on the tube, so to have the opportunity to watch all available 126 episodes in order - yeah, too good to resist. So for the last two weeks, this series has consumed my life. And it's been terrific!

Turns out I've already seen a good portion of seasons 1 and 2 on the television, so a lot of my watching was just refreshing myself. But then season 3, all the way to the end, was full of material I had never seen before, and made everything so much sweeter.

Season 1 and 2 were decent, with some laughs interestingly more in the middle of the season more than the beginning or ending (which is usually the case with comedies). Season 3 was really well done, I thought, with the introduction of Stella, the gorgeous Sarah Chalke's character. I especially appreciated Ted's dedication to making her watch Star Wars. Any potential wife of mine will have to pass the same test. Their paths diverge in season 4 in a satisfying fashion. I love seasons three and four, but all too often, it felt like there were these promises being made and then obnoxious cop outs - or a plot thread is left behind for episodes on end only to get picked up near or at the finale. Got a bit annoying, frankly. But understandable.

Season 5 was fairly so-so, but season 6, which I read that people felt was largely uneven, I found to be my favorite. It had the most 'hit' episodes for me, and the introduction of John Lithgow as an important figure in Barney's life was absolutely brilliant. I love me some Lithgow.

Overall, if anyone has yet to catch this show, do so now. There isn't a better opportunity. There are some weak episodes, and some that seem a bit redundant or unsure of themselves, but those are far and few in between, overshadowed by some truly hilarious story arcs, one liners, and skits. Even though the show is about Ted Mosby's quest to find his soulmate, it's really Barney and Lily that make this show so damn entertaining, in my humble opinion. Neil Patrick Harris is obviously a very talented comedian, so his presence in even the most shoddy of episodes automatically makes it a bit more fun, and Alyson Hannigan proves herself a worthy comedic and dramatic force even without the brilliance of Whedon dialogue. These two actors own the series.

So, yeah, How I Met Your Mother: watch it. Pronto. But the big question facing me now is this: do I download the aired episodes of season seven and watch those, or wait until the full season is done, do one massive download of all 24 episodes, and spend this time concentrating on a new show? For example, I have these on my radar:

Terriers came and went last year with huge critical acclaim, but minimal viewership. Still, a year later, it's a show that's mentioned a lot by critics and bloggers. Apparently it's great and excellent and amazing and whatever way you can possibly say that it was good. And Netflix has been nice enough to put the entire 13-episode series online! Diss the hell out of the company all you want, but I gotta commend them for offering full series that haven't hit DVD yet. Kudos, guys. Other than knowing it stars that one dude from Grounded for Life and it has something to do with private investigating, I don't know a bloody thing about the series, so I'm sort of eager to see this much-acclaimed show. And the young kid in me is itching to start watching this:

[Photo from 24 Frames Per Second]

Spider-Man: Unlimited. Hated, hated, hated by so many fans of the Web Slinger. From my own memories, I rather think I liked it. Sure, their version of Carnage and Venom were, like, freaky steroid-using villains, but overall, I loved the suit and the futuristic setting. It's been years since I've seen Spider-Man: Unlimited, so to have the chance to watch the complete series again is nothing less than a blessing. Unless I watch it and turns out everyone is right, the show truly is horrible, in which case I'll be madly disappointed.

After that, well, um, turns out every episode of every season of Power Rangers just happens to be Streaming as well, and the complete Godzilla: The Series. Must. . . Stop. . . watching . . .

Welcome to 2012

So I've been a rubbish blogger, I recognize that.

Hell, I've been a rubbish filmgoer.

The good news is that I hit my goal of 200 movies seen in 2011, but was slightly below 2010 with new releases viewed. I blame it on the slim pickings of titles that demanded attention from me. Anyway, it's been over a month since my last post, and I daresay I've been a bit of a busy geek.

First and foremost, why the image of Suncoast at the top of this post? Well, since I was sixteen, I've worked at the local Suncoast Motion Picture Company (sister store of F.Y.E.) at my local mall. Honestly, that place has become a second family. My coworkers and two managers are some of my closest friends, and with the exception of the half dozen or so customers that come in day after day and make a case for mankind's annihilation, Suncoast has been nothing short of heaven since I started.

I get paid to talk about movies and TV. Sell product to the customer, and even - on occasion - watch it on our TV screens. Jobs aren't supposed to be fun, but this job has been above and beyond.

Here's a good example: on one of the many super dead days during this past summer, my bosses and I had one of the most in-depth conversations I've ever participated in about the pro and cons of the 2011 superhero movies. We listed favorites by personal enjoyment and by the whole technical side (editing, cinematography, score, performances, etc.), and I'd say a good 70 minutes cumulative was spent dissecting these (four?) movies. It's days like that, just shooting the shit with my coworkers over stuff we love, that I cherish with all my heart.

And now that's all coming to an end.

A little over a month ago, right around the time I stopped blogging (although that wasn't the primary reason), I received word of the store's demise. Our little shop, one of the very last stores in Minnesota that sold hard-to-find movies at a reasonable price, that hired employees who actually knew what the hell they were talking about, and has been a staple store of a mall overrun with redundant cellphone and jewelry stores, is closing up. The humorous part that we tell our customers is that it has absolutely nothing to do with Netflix or any online companies - I don't know exactly what can be published or not, but the reason we're closing is rather ridiculous.

So for the last month Suncoast has occupied my life. Cherishing each and every last day at that place. Home Numero Dos. To put it mildly, this sucks balls.

And now school has started up again. Which, of course, means high speed internet wherever I go. The Geek will not perish from the blogosphere. Hell, in my blogroll, a site that hadn't a new post since 2009 was just resurrected, so my month absence - eh, ain't a huge deal. But I'm back, baby. Still distracted as usual by school and life -

- like the big question: what the hell am I going to do now?!?! -

- but I'm ready to talk about movies and shows. 2012 is going to be a damn good year. At least, there's more I'm looking forward to this year than 2011. Sorry to any 2011 lovers. Speaking of last year, the Geek's obligatory year-end roundup post(s) will be coming shortly, most likely near the end of the month. There's only two or three films to see before I make a judgment. I will say that as opposed to 2010 when there was a clear winner, I really don't have a clue bout my 2011 list just yet, let alone a bet.

So in summary: school, home #2 closing up shop, and me facing this whole adulthood thing.

In closing, please stay tuned to The Ramblings of a Minnesota Geek. Postings will resume shortly, both of movies and television shows, and I just might start blogging about life junk. Sneak peak: by no choice of my own, I have now entered into a class of the utmost evil. A trickster form masquerading as art. Oh yes, I'm taking poetry. Lords of Kobol, watch over my soul.

Until next time, happy 2012 folks, and hope to talk to y'all soon --

Awesome Andy

This is totally mine, and I LOVE it!

Yeah, that's hanging up on my dorm room wall...

If you don't know what that is, A) shame on you, and B) that's the TARDIS exploding, as painted by Vincent Van Gogh in the DOCTOR WHO episode "The Pandorica Opens". See, The Doctor met Vincent in an earlier Series 5 episode. They bonded. Later on, he had a vision. The TARDIS, The Doctor's time travel machine, exploding, basically eviscerating all of reality. That's bad. Vincent drew the painting as a warning for The Doctor, a painting that survived thousands and thousands of years until River Song (Alex Kingston, "ER") was able to get her hands on it and present the painting to The Doctor. Ultimately, the fate of the TARDIS was inevitable, leading to one hell of a jaw-dropping cliffhanger and questions that still have yet to be answered.

But most importantly --

It's so PRETTY!!!!

If anyone else is interested - and I know ya are - I also have up an SCOTT PILGRIM VS. THE WORLD poster, two other DOCTOR WHO's, and one HARRY POTTER AND THE DEATHLY HALLOWS with Harry and Voldemort's face meshing into one. It's pretty awesome.

Alright, back to my regularly scheduled doing homeworkness.

Actually nah. It's the weekend. I'm gonna watch some more INVADER ZIM, and then maybe take a peak at BURN NOTICE after three people told me with absolute enthusiasm that I will love it. We'll see.

And finally: if you haven't watched DOCTOR WHO. Yeah. You should.

Sorry

Sorry I've neglected my blogging duties - I feel pretty sucky about that. Unfortunately, finals are gearing up here at Mankato University, and that's consuming my time. I have the following to accomplish:

• Suffer through Macbeth and write a final paper analyzing one of the following four plays: Titus Andronicus, Hamlet, Othello, Macbeth.
• Read loads and loads of pages for Philosophy of Religion including the jargon-full musings of David Hume, another section loaded with jargon called "The Will to Believe", and some other material from Kant. All in all, about 120 pages of stuff I need to somehow understand to end up with a good ol' C in class.
  
• Rewrite and rewrite and a little bit more rewrite on my short story, "Halfway Out of the Darkness". Need to make sure I keep my ego in check while I tear apart my story and rebuild it line by line. Very time consuming.
  

I know that doesn't seem like much, but it's a lot in one week's time. I hope to (at least) update with a new edition of The Watcher and a MMAM, cos music is awesome. But school is concluding soon, so I will be back to Writey Blog Man in no time! And what does that entail? Me fully dedicating myself to my Fantastic Dinosaurs of the Movies! project as well as diving right into the 50 Movies I Should See.

And one last thing as I wrap this up. Tomorrow is going to be the aweomest day of the year. Why is that, Mr. Time Lord, sir? Well, tomorrow just so happens to be the day DOCTOR WHO PREMIERS!!!! I'm only a little itcy bitcy tiny excited for this event, and expect a Watcher Special dedicated solely to the premiere episode, "The Impossible Astronaut."

Thanks for reading, ladies and gents, and for being patience. The Time Lord shall return, and stress free!

50 Movies I Should See

Alright, this blog is going to be taking a break next week so I can allocate some time for studying the atrocities that is Shakespeare (apologies Shakespeare fans). Now, lately, I've been watching a lot of movies I've heard good things about but had never seen before, like Ben-Hur [pretty damn good] and Across the Universe [which was rubbish], and want to continue that.

Therefore, that brings us to this: I would like whoever reads this blog to recommend to me 50 movies that I absolutely should see.

Now keep in mind, I am not saying that I want 50 "classics" that I haven't seen nor do I want the typical answers like Casablanca or Citizen Kane. Hit me up with a wide range of flicks - foreign films, cult classics, shitty films, even musicals. I want to expand my viewing horizon, ladies and gents. For example, if it wasn't for Nick's 60 Weeks 60 Movies feature I wouldn't have seen the awesomeness that is The Good, The Bad, and the Weird. If need be, sure, throw a classic I really should see my way, but I sort of want to avoid them.

Below I will have a updated list with all the titles recommended to me.

1. Dark City
2. The Station Agent
3. Network
4. City of God
5. Woman in the Dunes
6. Blow
7. The Special Relationship
8. Sanjuro
9. Days of Heaven
10. Sophie Scholl: The Final Days
11. Bronson
12. Time Crimes
13. Ladyhawke
14. Coffee & Cigarettes
15. Wristcutters
16. La Vie En Rose
17. Memories of Murder
18. Mother
19. A Prophet
20. The Proposition
21. Dead Man's Shoes
22. The Wind That Shakes The Barley
23. Lock, Stock and Two Smoking Barrels
24. Dr Strangelove
25. Cashern
26. Life is Beautiful
27. Dune
28. War of the Buttons
29. After the Wedding
30. This is England
31. Rabbit-Proof Fence
32. The Man Who Wasn't There
33. Blood Simple
34. Tears of the Sun
35. The Fall
36. Better Luck Tomorrow
37. Howl's Moving Castle
38. Return to Me
39. Tortured
40. Ghost Dog
41. Adaptation
42. Black Narcissu
43. The Red Shoes
44. The 400 Blow
45. Blue Velvet
46. Amazing Grace
47. The Painted Veil
48. The Wings of the Dove
49. A Perfect World
50. Blood Simple

Stylish Blogger Award

Jack L. over at Jack L. film reviews has bestowed upon thee the Stylish Blogger Award! Major thanks, kind sir, and for your kindness, me, and other factions of geekdom, say to you: May the Force be with You, and Live Long and Prosper. It feels good to be stylish. Now, as it seems to be customary, I must list seven facts about myself, and then pass on the Stylish Blogger Award to seven other lucky bloggie peoples.

• My first movie experience was Aladdin at the age of three; however, it wasn't until Godzilla 1985 a few years later that my love for movies - and dinosaurs - was cemented.
• When I was ten or eleven, bugger if I remember, I submitted a short piece of fiction for some sort of contest at the Rosedale Mall Borders. I ended up winning second place with a short story called "Yamoto Warrior". I attended this ceremony in front of a good chunk of people at the mall and everything; had my award given to be in a glass frame, the whole nice yards. A year later I won third place in Chicago at the Godzilla convention, G-FEST, for an drawing I did. That was pretty cool, but the really, really cool part is that my art was judged by none other than Bob Eggelton!
• Another thing about Godzilla: I actually owned a official T-shirt and production hat from the 1998 Godzilla film, given to me by a crew-member who lived at the apartment my mom and I lived in 1996-1999 in Oakdale. Unfortunately, I lost both items in 2004, although I have a hunch as to were they might have been...
• Thanks to loads of Buffy, Doctor Who, and miscellaneous British programs, I tend to say "mate", "bloody hell", "bollocks", and "blimey" far too often and my friends get a tad frustrated. Not like I mean to do it, just sort of comes out, like my friends' ability to say "like" and "you know" more in one day than anyone should in their whole lifetime.
• This may be a cliche, but I'm an aspiring writer. I hope to become at least a quasi-successful novelist, with some people in the world either buying and reading my book(s) or looking at it at Wal-Mart, skimming the back over and then putting it back. If I ever do become successful in this endeavor, my specific genre of interest: science fiction. But no matter what I do, I always end up incorporating good vs. evil/religious undertones to my stories, despite not being a remotely religious man.
• I own two Master Replica lightsabers, two of my three most prized possessions. One is the Anakin Skywalker lightsaber from Episode III, the other Darth Vader's. Oh, happiness. My third most prized possession is the Eleventh Doctor's sonic screwdriver from Doctor Who.
• I'm not very 'hip' with the music scene. Concerning regular everyday vocal music - the non compositional movie soundtrack kind (which I'm addicted to) - it usually takes a film (like The Hangover) to open my eyes to new music. So when my roommate plays something that is apparently quite popular and I haven't a clue who they are, he's completely shocked I don't know, say, Linkin Park. At the very least I now know Linkin Park had some music in the two Transformers movies. I do know I hate Screamo music, but if anyone wants to suggest some cool bands or what have you, you're encouraged to do so.
  

And as for other Stylish Bloggers:

Rachel's Reel Reviews
Random Ramblings of a Demented Doorknob
Blog Cabins
ANOMALOUS MATERIAL
Cultural Compulsive Disorder
Reel Whore
Dan the Man Movie Reviews

Rage, Rage Against the SyFy

There once was a time when I clicked to the Sci-Fi Channel with anticipation and happiness and the knowledge that I was about to watch programming that I would love. Now I click to the Syfy channel with the hope that a program that has at least something to do with science fiction is playing. And, to a extent, they’re not regurgitating Mega Shark vs. Giant Octopus for the one thousandth and eleventh time.

I remember, not too long ago, when the Sci-Fi Channel was one of the awesomest stations on the tele, when it was the premiere station for the genre I love, dedicated to showcasing, celebrating, and honoring the science fiction (and sometimes horror) genre. That network no longer exists.

It’s difficult to not blame the name change. After all, it does feel like these massive channel overhauls happened during the time of their monumental “name-branding”. But the truth is signs of the channel losing its steam happened a bit before that. The channels great anchor shows were Battlestar Galactica and Stargate: Atlantis, and they were preparing to close up shop. In response they picked up a few other shows, but nothing really remarkable. And then the unthinkable happened: wrestling.

They introduced wrestling. On a motherfrakking science fiction channel.

I do a lot of channel surfing, and (of course) flip past Syfy, except I didn’t realize it. When I go back just to make sure I saw what I think I saw, my worst fears are confirmed. The once go-to channel was sci-fi was hosting Jack Black’s School of Rock, and (later on) Pirates of the Caribbean: At World’s End [which arguably falls under the category, I suppose]. Not to forget mentioning I recall seeing anime played; leave that for Cartoon Network.

Never was a fan of Thanksgiving, but it did provide the opportunity for some sort of themed all day marathon on the Sci-Fi Channel. A particularly fond memory of one of those days is when they played a good six or seven Godzilla movies back-to-back, as well as The Beast from 20,000 Fathoms and other beastie films. Those were the good days, when they played black & white science fiction and horror, and television shows like Dark Shadows and Twilight Zone…a lot.

And they never failed to have really spectacular promo ads. For example, there’s this one ad I remember and will remember for a long time coming: it was a futuristic setting, some girl in a tight suit was running away from some blokes, jumps off a platform, and lands on some sort of levitating computer board and controls it by some sort of digital pop-up screen. I surfed around YouTube looking for it to embed here (if you find it, let me know!), but those thirty seconds or so were genius and awesome and brilliant. I want some of that brilliance back. Hell, I would love to see a full blown TV show made out of that.

With Battlestar Galactica done and over with, and a rather brilliant prequel series Caprica canned and Syfy’s only remaining flag series Stargate canceled with only seven episodes left, where does that leave us? Well, first, let’s take a second to see what was lost. In regards to Stargate: Universe, I understand it. The show simply hasn’t executed its premise nearly good enough, and as a result, fans and general audiences alike just aren’t getting into it and thus tuning in to make it a ratings success; so I get why that was canned, unfortunate as it may be [so bring back Stargate: Atlantis, dumbasses!]

But Caprica? Sure, it was probably an expensive show with a small group of faithful followers, but it was the most original, most brilliant, most science fictiony show that channel had. Caprica gone from the airwaves was a nearly unforgivable decision. It was a show that perfectly blended what the channel was promoting: real, human characters, themes that reflect contemporary questions and problems, and some serious hardcore science fiction imagery, motifs, and stories. What more, creativity-wise, could they ask for? Notta.

If one show were to survive, audience be damned, it should have been Caprica.

Now with the exception of Being Human and, to a small extent, Face/Off, the Syfy Channel is a pale imitation of what it used to be, that greatness I always looked forward to watch. Hell, those two shows can hardly be considered sci-fi at all.

Recently the channel announced SyFy Channel Original Movies and reality and scripted series that are being put into production now for the Fall 2011 slate. There are some possibilities of interesting properties, but nothing that really grabs my attention. The early renewal of Being Human for a season two doesn’t even strike me as all that spectacular, good news as it is.

Maybe it’s not just the Syfy Channel. Maybe the demand for science fiction shows has decreased in the last few years, and the channel is making do with what they have. In that respect, I understand their decisions, and can possibly commend them for surviving this long. But something needs to change. A re-dedication to their name brand, perhaps, fully immersing themselves into the genre they promote.

Show us those old 1940s, 50s, and 60s black & white/color movies. Show us the films many grew up watching and falling in love with. Air repeats of long dead sci-fi shows like Sliders, Farscape, The Chronicle, Doctor Who, Special Unit 2, Xena, Hercules, Highlander. Be more diverse in programming instead of Star Trek: Enterprise and super crappy Z-movie repeats, please.

I want to love you again, Syfy Channel. I want to be a proud supporter, to tell my friends that “Syfy is cool again!” and “dude, did you check out that awesome show on the Syfy channel?” Lame Hallmarky examples, I know, but it conveys my point neatly.

Just wish things were different.

Announcement: The Good and Bad of 2010!

The Good and Bad of 2010

Covering memorable scenes of the year, the best in visual effects, odd and brilliantish award thingies, a top nine list, and then an entire day dedicated to celebrating the television world! Come one, come all, to a geekgasm of 2010 goodness!

Unlike previous years, I will be commenting on 2010 in a six day exercise! Yep, you got that right, six days talkin', lovin', awardin' that great ol' year of last. The funness begins...

Tomorrow

2010 in Images

Don't fret, a favorite/best of 2010 list is still in the making, but before then, I figure I'd take a page out of Hatter and Kevin and post some images that have been stuck in my head from select 2010 films. They're either shots that are just pretty much "wow" or have stuck with me because of the emotion behind it.

What about you folks? Have any specific images from 2010 ya just can't get outta ye head?

EDITORIAL - Cloak of Death

Note: This originated as a paper for Film History class. Since there's no sort of rule saying I can't post this paper per se, voilia, you may now all enjoy this super awesome, I can't-believe-it's-not-butter paper. And since my name is all over this blog, any teachers can't say I plagiarized it. Besides, who'd want to plagiarize my paper? It's rubbish! If there's any factual errors, repetitive notes, or things that just don't make a lick of sense, the goal was to hit 4-5 pages, and I was desperate. My apologies. Otherwise, enjoy!

Cloak of Death:
Ingmar Bergman’s Personal Journey through The Seventh Seal

Renowned filmmaker Ingmar Bergman’s The Seventh Seal is often regarded as one of his best works, if not the most imitated and parodied since its 1957 release, but it’s also perhaps his most personal in his filmography. That being said, one of Bergman’s last works, Fanny and Alexander, is universally regarded as his most autobiographical production, a confrontation on Bergman’s part against his father, of whom he had less than ideal childhood experiences with. Although Fanny and Alexander concentrates on aspects of Bergman’s life, it is arguably not as autobiographical or personal as The Seventh Seal. An exploration of theology, The Seventh Seal is a conduit in which Bergman can battle his own demons and posit questions and explore their implications through the characters, taking lifelong fear and childhood experiences as inspiration to make this film his most personal and a representation of who Bergman is.

First and foremost, The Seventh Seal continues the tradition of certain themes and motifs typical of a Bergman film. Similar to Alfred Hitchcock’s running gag of a blond female murdered in a majority of his productions, Bergman manifests the perfect woman in his films. In this case, the honor goes to Mia, coincidently played by a woman engaged in a relationship with Bergman for a number of years. Commentary on the emotional cruelty of humanity is also prevalent here, as the case of the woman who allegedly has the Devil in her displays by the cruel actions of the soldiers and (inevitably) executioners. The plague becomes a physical manifestation, in a way, of God’s cruelty and seemingly indifference. If there was a God, surely the horrors of this phenomenon would not exist, or be cast out. And therein lays the greatest theme of The Seventh Seal, the existence or lack thereof God.

As a child, Bergman was raised under strict discipline. His father, Erik Bergman, was a Lutheran minister, and his mother Karin, was a wealthy, strong and proud woman who clashed with her husband on multiple occasions. Although religion was a heavy aspect of Bergman’s childhood, he altogether did not subscribe to one. Nevertheless, he attended church with his father which lead to various visual inspirations in the final film, and increased his interest and fear of dogma and death. Another aspect of his childhood worth mentioning that undoubtedly had an impact on his obsession with matters of death and the existence of God is his job as a gardener when he was six years of age. It was his task to carry corpses from the Royal Hospital Sofia Lemmet to the mortuary. Suffice to say, Bergman is not a religious man, a skeptic and fearful man of death from childhood to old age. However, religion inevitably crept into his life, and used it for his own artistic means, making screenplays and cinema the outpost of his inner struggles.

Multiple visual images from the film originate from medieval paintings Bergman came across in his life, most likely during his time at his father’s church in Uppland with its walls and ceilings decorated with paintings. Three specific paintings are the most pronounced, becoming iconic images from the film. First is Albertus Pictor’s famous painting of Death engaged in a chess game with a knight, highly influential in Bergman’s finished production and one of the leading images representing his work. Pictor’s sizable influence leads to a physical cameo in the film, as Jons the squire engages in the painter in conversation in the films first act. Second is The Dance of Death (or Danse Macabre), a 1493 rendering by Michael Wolgemut, depicting Death summoning people to dance on graves, a reminder of the frailty of life. This painting makes its way to the renowned penultimate shot in the picture as Jof is imbued with his “vision” of Death leading the Knight and his companions in a dance. The third world renowned painting finding a physical depiction in the film is Leonardo da Vinci’s The Last Supper. Although not explicitly composed in accordance to the painting, there are similarities not only in member position (e.g., the Knight’s squire in the middle overlooking the table, the man content and full of wisdom and figurative head of the household) but the overbearing mood of the sequence. Bergman doesn’t foreshadowing the impending fate of these people, but there is the overwhelming sensation of a final supper taking place. 

Although visuals do play a role in The Seventh Seal’s mood, it’s the script, written by Bergman, which enjoys the greater emphasis. Visually speaking, Bergman appears restrained in the majority of his compositions, as if directing the audience’s attention to the musings of Antonius Block the Knight and asking them to place your concentration on the questions than the way they’re presented. Through Antonius Block, all of Bergman’s contemplations on the existence of God, of the existence of an afterlife, and death itself, are voiced for everyone to hear and share in his theological dilemma. In the rare instances where Bergman favors emphasizing the visual aspect of the film aside from the necessary close-up and establishing shots, he conveys a sort of symbolism in their composition. The scene between Antonius and Death in the church, shot from the side of Death, has a very specific lighting: with the exception of the two figures’ faces barely lit, all around them they are enveloped in darkness, separated by a bar that symbolically stand for the divide between life and death. The script in this scene, the Knight raging against God’s indifference, mirrors the consuming dark lighting. Undoubtedly, the words are spoken by Bergman as much as they are the Knight.

Not only is it a visually and verbally striking scene, it is also perhaps the most personal to Bergman, and also displays the autobiographical nature of the film. Living in skepticism and fear, of God and death and some sort of meaning of life (a theme also richly explored in Akira Kurosawa’s Ikiru), Ingmar Bergman is, for all intents and purposes, Antonius Block. The Knight’s journey is his own, the Knight’s fears and queries his mind and mouth, and ultimately, the Knight’s fate and Bergman’s fate is inescapable. In addition to their analogous tales, they also share similar personalities. The Knight, like Bergman, speaks little, focusing instead in their introspective thoughts and meditations, and the little Antonius Block does speak, conversations of a friendly carefree manner are irregular, instead divulging his innermost thoughts and ideas. As a little nudge to Bergman’s acknowledgement of his own philosophical musings as lackluster conversation starters, in the scene between Mia and the Knight engaged in discussion outside, the Knight refers to himself as “boring company”.

As Antonius Block is the representation of Ingmar Bergman in the film, the script is a bible of Bergman’s viewpoints, questions, philosophical stances, and existential musings. By the films closing minutes, as well as Death’s ironic claim of Skat complimenting this concept, Bergman seems to accept that no one can escape death, but instead posits that the trick is banishing the fear of death. This is represented by the squire’s closing words of protest and resolution, as opposed to the Knight who remains defiant to the very end, despite his fulfillment of doing something worthwhile. If the viewer is to accept Antonius Block as Ingmar Bergman, his final stance is to lash out at Death no matter the futility of the action. Stemmed from fear and certainty of entering a state of nothingness, Antonious/Ingmar’s cry to the heavens is understandable. Indeed, the dialogue from all the characters in their final moments speak for Bergman’s conflicting feelings: the silent girl overcome with joy and fulfillment, Block’s wife and Plog the blacksmith defining themselves as who they are, Jons protestant resolution, and the Knight raging against the inevitable asking for mercy from a deity he doesn’t fully believe in. A fight of faith and reason is the quintessential theme of this movie and, by extension, Bergman’s life.

The Seventh Seal wouldn’t mark the conclusion of Bergman’s quandaries about death, as it’s a running theme in many more of his films, either as a not-too-subtle subject or a physical presence in the background. In the end, Seventh Seal didn’t answer any questions nor did it spark a profound epiphany concerning the existence of God or what awaits a person after death, but in later years his fear did diminish and Bergman finally became resolute on a position. In the 2006 documentary Bergman Island, a series of operations a number of years ago forced him to ‘go under’, and he found the ease and quickness of the transition from consciousness to unconsciousness interesting and startling simplistic. He no longer fears death as Antonius Block does, instead adamant and excited to see his late wife Ingrid Bergman waiting for him.

In the end, The Seventh Seal is Bergman’s greatest and most personal work as he posits his questions to the audiences and battles his own inner demons of fear and skepticism. There are no answers offered, as Death refuses every charge of Block’s, just the resolution that death is inevitable, and the film provides multiple different points of views from all the characters for the audience to identify and side with. The Seventh Seal is Ingmar Bergman at his greatest, wisest, and most personal state of being, and his timeless production continues to ignite debate and interest even now and undoubtedly years to come.

EDITORIAL - 24: Day 8, Part 3

"24": Day 8 - Part 3

Yes, I know, 24 ended all the way back in May, so this third and final installment is a little bit on the late side. And I dunno why, exactly; I mean, the fact that I'll be writing about the last episodes of the series does weigh on me a little. It's like I'm trying to pick the perfect words to do these final eight episodes justice. And I also recognize that these will most likely be the last words I write about the show for a long time. But I must go on! For the previous entries in this review, refer to Part 1 (Hours 1 - 8/10?) and Part 2 (10-17).

To put it kindly, the previous 16 episodes of 24 tanked. They were a mighty step down from passable entertainment, and was a slap in the face to the greatness the series achieved the previous season. It's nothing less than a miracle that the writers and production team crafted such a amazingly satisfying season finale, let alone series finale. The audiences were treated to truly the worst character and storyline the show has ever seen [Dana Walsh], and there was virtually no jeopardy in any of the situations Jack found himself in. For the first time since Day 3, I just didn't care. Why should I? The main actor - the whole reason audiences watch the damn show - spent 60% of each episode behind the wheel of a car on the phone. Hardly a engaging hero.

And then there was a game-changer. The man Jack Bauer had promised to protect died; Jack failed. Now with all the bad guys enjoying their being deadness, there was no threat that needed to be thwarted, no new villains for Jack to defeat. He was free. He was done. He was out. For good. And on the plus side, he was celebrating the end of another difficult day with a session of bliss with Renee Walker. But no, she had to give a second glance, semi-recognizing a Russian agent back from her days in the field. And by hours end, Renee Walker was dead - two bullets in her chest. The conclusion of episode 17 had Jack Bauer totally defeated, barefoot, shaken, torn to pieces, his eyes transfixed at the body of Renee.

This horrible, tragic conclusion paved way for the best episodes of 24 since the entirety of season 5. It nearly corrected an entire season worth of mistakes and poor judgments on the writers part. And best of all, it made Jack Bauer a force not to be reckoned with once again. And perhaps the best, most juiciest part, was the reintroduction of Gregory Itzin's President Charles Logan; boy I've missed him. With the story once again Jack vs. Logan - and to the greater extent Jack vs. Everybody, and this time really, really Everybody - it's as if the writers recognized the strength of Day 5 and decided to invoke that same sense of power and awesomeness for Bauer's last hoorah [I believe the final episodes were being scripted while the cancellation was announced, although I could be wrong].

These final eight episodes are powerful. Completely, unwaveringly powerful. They encompass the best elements this series has to offer, and provides them in such a rich, beautiful way, I can honestly say no matter the amount of times I rewatch the episodes, I won’t find myself bored. Alright, now that I've hyped up these awesome episodes enough, I wager it's time to get into the analyzing why they're so damn good.

See, when Jack Bauer is consumed with grief and rage, that right there allows for sheer magnificence. See, these last episodes are built entirely on emotion. Jack's fury with Renee's death to disgust at President Taylor for covering it up. Need a great example of this? The very moment at the end of S08E21 when he finds out Logan is involved, you get know it's on. 100% honesty, at the end of each episode, I was giddy as a kid in a candy store and could not contain my excitement for anything. It took 17 episodes, but 24 finally found its ground, and it's the emotional center it had been missing all year. Redundancy and a heartlessness permeated over the preceding episodes, and now we have a one-man machine who will fight the entire country in a mission he accepts he won't come back from. Um, goosebumps!

The reunion between Jack and Logan was magnificent. Dressed from head to toe in thick body armor, Jack bombards a underground tunnel to get to the disgraced President. If there's any one sequence that perfectly solidifies the unstoppable machine Jack Bauer is, this is it (and the single shot of Jack killing all of Novakovichs' men, which just sends chills up my spine). As Jack tosses Logan around, Gregory Itzin sells the performance splendidly and hilariously. Crying, begging for a reprieve, Logan is scared shitless of Jack Bauer - as he should be - and there's a certain amount of delight that comes from this scene. After Day 5, the reunion between these two characters (forget Day 6) was something I was quite looking forward to, and it delivered on every way imaginable. Logan's fate by the end of the day is perfect for this particular character. Sad, pathetic, and a little tiny bit tragic, frak I love it. As a final outing for President Logan on this show, I couldn't have asked for anything better.

As for President Allison Taylor, she finds herself morally compromised. In Day 7, we saw a strong President who stood by her convictions even at the price of her family, and multiple times in Day 8 she risked the safety of American citizens by not backing down to exterior demands. And now she’s presented with something so grand, a treaty unifying multiple countries in the name of peace, that not only does her ego (to have this be her defining accomplishment as President) flare up but her determination to do whatever necessary to keep this seemingly impossible treaty alive. 24 has always been good at exploring the gray areas of established characters, and even though President Taylor’s decision to be a major part in this cover goes against how she was written before, it’s no different here: even to the end, Cherry Jones had me captivated by what she was going to do next, or if she was still listening to Logan’s words and succumbing to them.

And there’s the other aspect of these final episodes that were critical in making them exceptional: ex-President Charles Logan. More on him later, but the writers made a brilliant move resurrecting the character after a ambiguous and ominous departure in Day 6. A manipulative weasel, a coward in disguise, a man intent on saving his reputation, when Gregory Itzin’s Charles Logan is onscreen, the series is on its A-game. In addition, through Logan we get the Classic 24 Reveal: that all the events of the day have been orchestrated by one major power. This time, it’s the Russians, specifically President Yuri Suvarov (who made a prominent appearance in Day 5) who put the plan into action.

The biggest convention the final episodes embrace is Jack Bauer going rogue. It happens basically every season, right from the beginning. Either things are moving too slowly for him to perform his job effectively and then must go outside the system, or everyone wants to kill him so he goes all Harrison Ford-FUGITIVE. As mentioned above, this time literally everyone wants a piece of Jack Bauer. The Russians, the Chinese (assuming their interest in Bauer didn’t drop after Cheng’s arrest in Day 6), and the United States. It may not be much, but it adds a new dimension to a tried and true storyline. But how everything goes down, it feels like a brand new, fresh concept. It's not Jack screwing the FBI and teaming up with Tony and Bill in Day 7, this is a city-wide manhunt for Jack Bauer, who is targeting some big time politicians and refuses to backdown. It's the TV version of THE TERMINATOR with Kiefer taking the reigns from Arnold. They both even wear jackets.

As a form of closure to the character and a fancy bookend to the day, it would have been nice to have Elisha Cuthbert reprise her role as Kim Bauer for the finale hour. However, considering how the series wrapped up, I can't see the particular use her character would have. I could envision Jason Pillar using her as leverage against Jack, threatening to kill her if he doesn't cooperate or something along those lines, although that would have been a rather awful note for Kim to end the series on. As it stands, I'm quite comfortable with her exit from the series. After endangerment and emotional turmoil in nearly every season she's in, it's grand to see her final appearance be a happy one, delighted with a daughter and husband (even though it's Paul Weasley, who I am not particularly a fan of) and encouraging her father to finish what he started.

Speaking of bookends, 24 does this quite often, and it's yet another staple of why the series finale was so well crafted. First, a overview. Day 1, he started the day with everything, even though his marriage to Teri was strained, they were content to work through it, and at the end, Jack lost it all - everything but his daughter, that is. Day 4, Jack's happier than he's been in a long time, and as the clock exits out, he's a dead man walking. Day 5, Jack comes out of seclusion only to be kidnapped at the end. Day 6, Jack is prison, and by the finale, a completely free man. Day 8 begins and ends in a similar fashion to Day 4, as the day opens with Jack completely happy being around his daughter and granddaughter in a New York hotel, and is even looking forward to moving in with them to California. And by hour 24, all that promise is gone. Jack will probably never see Kim or his granddaughter again, and he will be on the run for the rest of his life (or until the movie forces the government to work out a deal with him...). It's a sad ending, but perfectly and beautifully keeping in tone with what this show is and who Jack Bauer is. Gotta love brilliant bookends. And to nag on the earlier part of the season, it's yet another miracle that the producers were able to accomplish this.

Alright, I'm not getting to the point of babbling on and on and not getting anywhere. Point is, these last seven episodes are magnificent. Jack Bauer is a badass once again, fighting America and the Russians, a unstoppable machine fueled by revenge for Renee and disgust at the President. Moral dilemmas for many people involved, ginormous amount of 'OMG! What's going to happen?!?' that's been noticeably absent all season long is back when a vengeance up to the final seconds. And as a series finale, the writers had the trick up their bag that they could kill Jack Bauer as the ultimate twist. Improbable, but it could happen, which most definitely geared up the anticipation a few knots. The writing was off the wall fantastic in this last batch, the direction, pacing, and the performances were on par to Day 5 excellence. All the mistakes of the previous 16 episodes were remedied, and we were finally given the intensity of earlier seasons and the familiar yelling at the screen in disbelief another episode went by and you need to wait another week for the next. Overall, a brilliant, brilliant end to a rather dodgy day and a formidable eight season run. I love yah, 24.


Saying Goodbye

My addiction to 24 started with Day 4, which I believe was the first time FOX had the two-night, four-episode event that pretty much hooked me immediately. It was a fantastic season, ending with one hell of a sour note that was both downbeat yet hopeful. Post-finale, I made it my mission to watch the previous three seasons I had missed out on. From the library, I rented Day 1 and flew through that rather quickly, although it wasn’t 24 at its best. Knowing how the shows format would be crystallized by Day 4, it was interesting watching the creators and directors find their ‘style’ as the season went on. I made blind buys at Sam’s Club of Days 2 and 3, with the second season successfully making me a couch potato from the first minute to the last, and the third season not exactly something that grabbed me at all (with the exception of the Chappelle episode, which I dare anyone not to becoming emotionally knotted by). My love and affection for 24 officially cemented, it was with great joy and happiness that Day 5 delivered some of the best television entertainment that has ever graced the screen. Pitch perfect from the opening to closing minutes, Day 5 was the season that perhaps made the show more pronounced to the general public, and they quickly got on the bandwagon.

As a huge fan, one doesn’t need to guess my feelings toward Day 6 as that went forward. Not even the guest appearances from Gregory Itzin and Jean Smart satisfied me, but the finale sure did. At the end, Jack Bauer had a freedom to go anywhere and do anything he pleased, unburdened, so to speak. Much to my dismay, Day 7 was postponed a year thanks to the 100 day Writer’s Strike, but in the long-run, I should be quite grateful. It allowed the writers to connect the episodes together more, create a bigger fluidity throughout each hour. By seasons end, Day 7 nearly forgave the huge shortcomings of Day 6. And then we have Day 8, which has already been well documented.

Week after week, 24 was an adrenaline ride, and no amount of outlandish situation or solution that received rolled eyes or hollers of disbelief dissuaded my love for the series. Each Monday evening at eight at night, I was watching a mini Jason Bourne movie, with a frail, patriotic, no-bullshit kind of man who hardly had anything to lose. It was fun, it was exciting and exhilarating, and I was glued to the screen. And now with its final season done and gone, there is a certain sadness knowing that I won’t get to see Jack Bauer’s exploits again, that I won’t be able to experience another really, really bad day of his and see how he handles it.

But I understand the situation for the showrunners. For eight seasons and over a hundred episodes, the expectation and ability to write creative storylines and genuine twists was becoming more difficult with each passing episode. When 24 excels, it’s really fantastic, so when those less-than-stellar episodes come along, the fall was greater and more disappointing. By the end of Day 8, I wager the executives and writers were just exhausted, and with the nearly two million dollar budget per episode the show was simply getting too costly. It’s sad and unfortunate, but I understand the need to end 24, and as this rather glowing editorial has hopefully provided, they couldn’t have ended it better.

Reports say a 24 movie is in the works – either with those two hours representing two hours or a condensed ‘day’ by the allotted running time – but it’s probably a long time coming. As a fan, of course I’ll be more than receptive of a feature film, to see Jack Bauer doing his thing again on the big screen, and you can certainly bet I’d be there for the midnight screening. But if it doesn’t come to pass, I’m OK with that, too. Twists and turns, torn friendships, a few dozen moles, a half dozen betrayals, and a greater body count under his belt than Jason Vorhees and Michael Myers combined, 24 rocked. What we have here are eight seasons of a man who did everything he humanly could to save lives, often sacrificing the things he holds most dear to his heart. At the beginning of the show, Jack Bauer is a respected man who got the job done with questionable methods, and we leave him as a disgraced ex-CTU agent on the run from America, Russia, and (presumably) the Chinese. As a fan, I couldn’t ask for anything better, for the series stayed true to who Jack Bauer is and the journey he ventured.

Goodbye, 24. Thanks for all the wonderful experiences and keeping me at the edge of my couch every Monday night. You will be missed.

LAMB #748 - Me!!!

The day has come! The Ramblings of a Minnesota Geek is now a official, pictured member of the Large Association of Movie Blogs! #748 is me number, mates. If it was #907, I could have made a rather lame DOCTOR WHO joke, but alas, I don't really think I can make #748 into something geeky humor related. 4 and 8 are numbers from LOST, the 'cursed numbers' as Hurley likes to call 'em. So, that's something. Er, moving on from that, to all who are checking the site out for the first time, I bid thee -

Welcome!

Sadly, posting is going to be a little rubbish for the next week as my ability to log onto high-speed internet will become increasingly limited. Plus, finals are fast approaching here at Minnesota University Mankato. I have a 7-10 page paper on Toni Morrison's BELOVED to write, which I'm not remotely looking forward to. But, on the cool cinematic end of the spectrum, I am given the awesome pleasure of writing a 5-7 page paper on Ingmar Bergman's THE SEVENTH SEAL, arguing how it's his most personal movie in his filmography. Anyhow, that's what I'll be doing for the next week. And, of course, HARRY POTTER AND THE DEATHLY HALLOWS, PART 1 tonight.

Please enjoy the features and reviews. Upcoming reviews, aside from HP7, include SAW VIII and PIRANHA, as well as lavishing love letters on the AVATAR: THE LAST AIRBENDER animated series which I have just recently become addicted to.

Cheers!
Andy the Time Lord

EDITORIAL - Apologies

In case you haven't notice the severe lack of posting regularity and maintaining any sort of schedule, well - thanks for not noticing. However, I sorta feel bad about that. I've been playing catch-up with the Movie Meme [it also doesn't help that I get super stumped sometimes, such as 'Favorite Kiss', and other times I make up a answer in haste that I later regret - ugh], and neglecting my movie watching, and neglecting my recently created schedule. So, right now, I'm basically gonna say screw it.

No schedule. The only two things that remain the same will be the MMAM and The Watcher. I got plenty of reviews to write, so I'll at least be staying true to that. Thus, Ramblings of a Minnesota Geek will be in good waters. Movies and TV shows will/are the prime objective of the site, and with The Watcher, the TV aspect will be covered rather thoroughly, so yippie with that.

I'd also like to acknowledge that next month I plan on taking part of David Bishop's One Month Exploring Netflix Streaming, or more appropriately, OMENS. I already have quite the heavy Netflix Streaming list, and with my nifty new headphones recently acquired from Wal-Mart, I'm downright ready to get me some Netflix watching going.

One last thing, so you can understand the atrocious pain I've been dealing with the last two weeks: poetry. I'm quite certain there's very, very few things in existence that is as wicked, vile, and simply evil as poetry. Just reading it and giving a reader response is fine - I'm groovy with that. But having to write a three to five page analytical paper, not only pointing out poetry jargon but also using it in the document...it was just very uber-crazy. However, hazzah! The Final Draft was turned in this morning, and the sure-to-fail poetry test I took on Monday actually produced a high C. So, mesa much with the happy. Again, my apologies. Evil homework took precedence. [Never thought I would say that...]

And before I sign off, SCOTT PILGRIM VS. THE WORLD hits DVD/Blu-Ray November 9th. Buy it first day, or you are so not cool:

EDITORIAL - Series Finales Write-Up

With the release of the sixth and final season of LOST on DVD a little less than a month ago, I've been thinking a lot about series finales. We love 'em, we hate 'em, we dread 'em. Almost never does a series finale truly satisfy the fans, and it's improbable there will ever be one that makes all camps completely 100% happy. The long-running CW program SMALLVILLE concludes this year with its tenth season, and it's been frequently promised that the series will end with Clark Kent fully embracing his destiny/role as savior of the world, don his red and blue uniform, and officially fly into action. But will it satisfy? After ten years of living with these characters, I myself have certain expectations, but it being the show that it is, I don't expect something mega from it. Like SMALLVILLE, I am not expecting something utterly mind-blowing for the eventual series finale of SUPERNATURAL, whenever that may be. As long as the finale centers on Sam and Dean and maintains the theme of 'family', I'm groovy baby. So, without any real agenda, I'm just gonna go through a list of series finales from shows that I actually watched and just sorta talk about them. Therefore, that means not musings on 'landmark' programs like THE WIRE or THE SOPRANOS. Still, there's a good selection below.

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Show: 24
Finale Title: "Day 8: 3:00 PM - 4:00 PM"
Transmission Date: 24 May 2010
Planned/Unplanned: Unplanned
Episode #/Season #: 192/24
Plot: Jack vs. the President
Review: Gawd, Day 8 was SO HORRIBLE!!! 16 episodes of boringness, repetition, and utter shit. Sorry Jack Bauer, Howard Gordon & co., I just felt really let down. Like, mega. So how does one remedy that? How does a showrunner end the season - and the series - on a highnote taking into account the colossal badness of the previous 16 episodes? Go back to what made the most riveting season so damn good. What did Day 5 offer, arguably the most creative and awesome season of the shows entire run? It had Jack Bauer seeking justice for the deaths of close friends. So from Hour 17 of Day 8 all the way to the finale, they did exactly that, but brought it one step further. Jack Bauer went ape-shit. He was to the point where we didn't know if Jack had lost all sense of right and wrong, of his own sanity as he mercilessly killed everyone involved in a government cover-up. Bauer was loony, and I LOVED it! I still haven't finished my third part in my Day 8 editorial of months and months ago, mainly because I want to do the episodes justice, but suffice it to say, I am utterly perplexed how this crappy season was saved by the sheer utter awesomeness and raw emotion that resided in those final episodes. Gripping, intense, and jaw-dropping. That's how Day 8 ended. And the series finale, "3:00 PM - 4:00 PM", was a very nice, very satisfying series finale for Jack Bauer. He's a character that continually gives up everything to do what he believes is right, and in this case, he gave up more than he ever had before. The U.S. government wants him, the Russians want him, and [perhaps] a few members of the Chinese are still interested in having his head after the Day 4 dibocal. Characters were sorta redeemed, and Jack finished the series appropriately. Some cry foul, that it really is a repeat of Jack's status at the end of Day 4. OK, I get that, and I can even acknowledge that, but simultaneously, in a season where there were so many dull plotlines and repeated gags, why shouldn't we rejoice when the show concludes on a note that was just as powerful and poignant as before? Whatever problems of the overall season, I applaud the creators for giving 24 a appropriate and gripping series finale. Rank: 7.5/10
Why the Rating: Writing, acting, editing, music - all off the charts excellent. Kiefer Sutherland, Cherry Jones, Gregory Itzin, and Mary Lynn. I love you guys, and every single one of you gave us powerhouse performances that truly deserve recognition. The writing is solid. Indeed, President Taylor's transformation from "2:00 PM - 3:00 PM" to "3:00 PM - 4:00 PM" isn't entirely sold well script-wise, but Cherry Jones was somehow able to make Allison's change of perspective plausible. 24 ended very 24-like. Kudos.

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Show: ANGEL
Finale Title: "Not Fade Away"
Transmission Date: 19 May 2004
Planned/Unplanned: Sorta Kinda Planned/Unplanned
Episode #/Season #: 110/22
Plot: Angel and Gang plan a suicidal fight against the Senior Partners, basically jump starting a Apocalypse of their own.
Review: No matter how much I love the hell out of the SHIELD series finale [see below], "Not Fade Away" is the epitome of perfect as far as series finales are concerned. For a fairly thorough write-up of my feelings towards the finale, I'd direct your attention to this page, which I wrote as part of the 30-Day TV meme a few months ago. In a nutshell, "Not Fade Away" is a perfect tribute to everything that has been established before, and concludes on a note that sells the main theme of the show, and honors every single one of the characters through and through. The final fate of Angel, Illyria, Gun, Wesley, and Spike - all perfect. The final fate of the Shanshu prophecy, which foretold a vampire being granted a soul after saving the world - that's resolved in such a profoundly appropriate and heroic fashion, there isn't any possible scenario that would have been as satisfying. Co-writer and director Jeffrey Bell and co-writer Joss Whedon were hiring on all cylinders when they wrote this. One can only imagine how even more awesome it would be on the big screen. Rank: 10/10
Why the Rating: Dude, just read this page. In essence, the best series finale evah. I would really love the opportunity to write a 30-page paper on this episode for some creative writing class - perhaps I should propose that.

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Show: BATTLESTAR GALACTICA
Finale Title: "Daybreak"
Transmission Date: 20 March 2009
Planned/Unplanned: Planned
Episode #/ Season #: 75/20
Plot: Admiral Adama makes a dangerous decision: to engage in battle with the Cylon Colony to retrieve Hera, who just might be the key to everyone's continued survival.
Review: Gods, destiny, family, home - with four seasons of a dozen and change characters, a journey to locate a mythological planet, and the possible existence of a One True God maybe or maybe not guiding the Galactica fleet to safety, plus the ever-present danger of a pissed off Cavil leading the Cylons to exterminate the last remaining human beings in the galaxy...yeah, executive producer Ronald D. Moore had a lot on his plate. As the story goes, he was struggling and struggling with "Daybreak", until one day in the shower he had a epiphany that he wrote on the white board the next morning: "it's about the characters, duh." Or something like that. But basically, "Daybreak" is all about the characters and answering lingering questions. Back when it aired, I was less than totally pleased [although the shoot-out fight was awesome], but now I have only one real giant disappointment with it. SPOILERS. So Kara Thrace, seemingly resurrected from death, was a corporeal human being sent by the One True God to help guide the Galactica crew to this new "earth"? OK, cool. However, writers, there is a little something called foreshadowing. Yes, the Gods of Kobol and the One True God have been referenced plenty - in fact, they're a major part of the story from the get-go - but the episodes leading up to "Daybreak" make it seem like she's something else entirely, something none of us but the brilliant writers could possibly think up. So her true resurrection was unsatisfying. However, as a finale, "Daybreak" rocks. A space battle that rivals the cinematic millions-dollars CG fests, Bear McCreary's riveting score, flashbacks that help reveal more about our characters [minus the stupid part with Lee and the bird], a beautiful final act, A game performances, and a mostly happy ending for everyone. Good finale, Mr. Moore. Rank: 7.5/10
Why the Rating: This is a difficult one; with shows that place a emphasis on lingering questions, expectation is that resolution is found for the majority of those questions by the final episodes post-credits. Although Ronald D. Moore did answer a good chunk, as well as returning a plotline for a prior episode that I thought was going to be ignored for the rest of the series, it did nonetheless feel a little sloppy. The fact that God played such a instrumental part in the fate of the Galactica, and became the explanation for the two visages of Baltar and Number Six - well, it did feel like a cop out. It was a fine, quick explanation, but like most fans, I wanted more out of that answer. Plotlines aside, "Daybreak" was meticulously crafted, written, directed, edited, and acted.

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Show: BUFFY, THE VAMPIRE SLAYER
Finale Title: "Chosen"
Transmission Date: 20 May 2003
Planned/Unplanned: Planned
Episode #/ Season #: 144/22
Plot: Buffy and the Scooby Gang come up with a idea to stop The First, and unfortunately it sorta takes Sunnydale down with 'em.
Review: When you watch "Chosen", one realizes that it is a perfect sequel to the pilot, "Welcome to the Hellmouth." In the very first episode, Buffy Summers was a teenager girl who so didn't want to be the Slayer, and just wanted to be your normal everyday gal who didn't stake dead folks at night. By the finale, not only has Buffy Summers fully accepted the mantle of Slayer, but gives a gift [or curse, depending on your viewpoint] to the many potential Slayers of the world, enabling them to fend for themselves, to gain self-confidence, to be a better human being, to be what have you. In the final scene, Buffy smiles, something that has been a long time coming given the events of the previous two seasons. So "Chosen" concludes the series on a high note, with Buffy and the entire Scooby Gang [well, the survivors, that is] peaceful and content, closing the Sunnydale chapter and opening a brand spankin' new one, full of endless possibilities [which is another achievement for the Scooby Gang, now free of destiny and being told what to do by older organizations]. Written and directed by Joss Whedon, "Chosen" also boasted the usual relationship dynamic and quick-wit dialogue that makes the series so remarkable. Additionally, Whedon went a bit Helms Deep with a seemingly unwinnable battle being fought, everything concludes in a happyily satisfying way. The ANGEL finale finished on a similar note - with the characters embarking on a suicidal fight with no hope of winning - but there's a distinct difference between the two shows: BUFFY, although it most definitely has a over-arching theme, doesn't live or die by that, but is instead greatly defined by the characters that inhabit that world. ANGEL, on the other hand, represents a theme. No matter the brilliantly detailed characters or the utter awesomeness of the show in general, the finale and the show reflected the theme from the very first episode, and the finale ended the way it did to service that theme that Whedon & Co. wanted to go out on: helping the helpless, and fighting the fight that needs to be fought, no matter what. Nonetheless, Joss Whedon, Marti Noxon, Jane Espenson - great show, great finale. Rank: 7/10
Why the Ranking: I honestly don't know why I ranked it as such. As you can tell from my minreview, I really dug the episode. Joss Whedon did a great job. Just felt the right rank, damnit! Alright, when I go back home next weekend, I'm gonna rewatch this episode, and then make up a more intelligent decision.

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Show: KYLE XY
Finale Title: "Bringing Down the House"
Transmission Date: 16 March 2009
Planned/Unplanned: Unplanned
Episode #/ Season #: 43/10
Plot: Kyle initiates his plan to bring down Latnok, but it just might cost him more than he bargained for.
Review: For the majority of its third and final season, KYLE XY was sorta boring. It began with a bang, with Kyle learning to harness and control his super cool powers and save the girl of his dreams. And then they broke up. And then Kyle started hanging around Latnok. And for awhile, it just sorta felt...underwhelming. A great dramatic moment with Kyle's mom was left with unfulfilled potential, and it became very relationship-oriented with the sci-fi elements left in the backburner. The two episodes leading up to the finale were fantastic, and "Bringing Down the House" is a pretty alright finale on its own right. It's just disappointing it took 9 other episodes to bring us to this point. Kyle is becoming a adult now, and is even growing a bit of a dark side - which I love; characters with dark sides are awesome. But as a series finale, it is totally lackluster. Nothing is resolved, and Kyle's future and purpose is still unclear. Rank: 4/10
Why the Rating: Keep in mind, the rating only reflects the series finale, not the episode as a whole. I have no doubt that if the writers were allotted the proper time to craft a series finale, we the fans would have been given something extraordinary, so I can't fault the producers at all for going the route they did. After all, they had strong season 2 ratings, and the entire third season was in the can by the time the first episode even aired in '09. Not like they could have prepared for it. Nevertheless, as a final episode of a series, it does suggest that Kyle's personality will continue to grow, and that he will need to continue fighting to have freedom. The very human superhero. At the very least, I'm glad the producers included a little 'what would have happened' on the season 3 DVD.

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Show: LOST
Finale Title: "The End"
Transmission Date: 23 May 2010
Planned/Unplanned: Planned
Episode #/ Season #: 121/17
Plot: The Man in Black intends on destroying the island once and for all, so the surviving Losties fulfill their destiny to protect not only the island, but the world.
Review: 700 mysteries over 121 [114, according to some] episodes, how could the LOST series finale, "The End", possibly live up to fans expectations? In a lot of ways, it doesn't live up to expectations. In other ways, it works splendidly well. As I'll explain: in the final season, executive producers Damon Lindelof and Carlton Cuse were quite public about the fact that not everything will be explained, and that the story and characters are first and foremost important. Understandable, and even respectable. However, there are still answers I feel we as a audience deserve, and didn't get. The primary one being, of course, what is the island, and where was it located, as asked by Charlie all the way back in the "Pilot." I would have appreciated a attempt at answering this - say, Jacob was a cursed immortal by God and created the island using his mystical powers, but the use of such power created his opposite equal, the Man in Black. See? Sorta crazy but acceptable-by-my-standards answer. Just something. That's all I really cared about, the island itself. I don't care about the fact six seasons boiled down to Jack putting the cork/core of the island back in its place before it destroyed itself - in fact, Jack saving the island from total destruction is a rather cool idea. The whole seasons storyline of a chaotic force hellbent on getting of the island and is supposedly 'pure evil' is utterly electrifying in its awesomeness. As a finale to that season, "The End" works great; as a end to the series, it works alright. The whole afterlife Sideways reality was a nifty idea, granted, but how it was executed in the episodes leading up to the finale leaves much for debate. I just think they went the wrong way with it, is all. But hell if I didn't get all emotional during the last 15 minutes, especially the final two. Rank: 5/10
Why the Rating: The biggest, most pivotal question of the series, the one every character, actor, and viewer has asked, was never truly answered. What the hell is the island? Why is it like it is? Alright, two questions, but you get my drift. So in relation to answering the big lingering questions of the series, "The End" and season six in general is a disappointment. But as a resolution to these characters the audience have grown to love for the past six years, for wrapping up a storyline in a engaging, intelligent way, then yes - "The End" was pretty good. Pacing issues here and there, and I wager there could have been some stuff cut for time, but good all the same. Do understand that my viewpoint of 'The End", like so many other viewers, is subject to change at any time.

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Show: THE SHIELD
Finale Title: "Family Meeting"
Transmission Date:
Planned/Unplanned: Planned
Episode #/ Season #: 88/13
Plot: Seven seasons and three years of pain, double crossing and double dealing, and Vic Mackey makes a bargain that will cost more than he's willing to give.
Review: Taking into account all the shit that happened with the Strike Team for seven whole seasons, and all the lingering threads and the emotional payoffs that NEEDED to happen, I don't know how Shawn Ryan did it, but he crafted a utterly SUPERB series finale. Su-freakin'-perb. If you have any intent of watching this show in the near future, I beseech you to stop reading right this second, because I don't want to spoil a single damn thing for you. Gone? Alright, good. Oh, how this finale was a success. Vic Mackey's ultimate fate is so sweet and well deserved; Ronnie gets fucked and imprisoned for the rest of his life; Shane comes up with one final solution with dire consequences; and Corrine and the kids vamanos. The beauty of this show is that even though our primary cast of characters do bad things constantly, they are possibly some of the most enjoyable yet sympathetic characters I have ever seen. This finale satisfyingly and beautifully tie up plenty of threads that have been dangling for seasons, culminating in a grand finish. But in true SHIELD fashion, the final twenty minutes aren't happy, they aren't big explosion-y awesomeness. It's quiet, it's tragic, it's grainy, and it's perfect. Rank: 9.5/10
Why the Rating: "Family Meeting" stayed true to the entire series, answering questions, providing a satisfying and logical resolution to the biggest question of the series, and is still captivating a year and so later. The series feels complete. One long finite storyline, told brilliantly.

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Random Thoughts: So what do I want from a series finale? #1) The characters and their many moral decisions and subplots be wrapped up in a fashion that remains completely true to the character established in prior episodes. #2) Just enough closure is given to significant plotlines that have weaved in and out throughout the series. #3) If a show has multiple questions, the most pertinent of them are answered. #4) The series finale doesn't feel overly 'special', like a EVENT episode, but is a tonally logical conclusion to the established paradigm. #5) If characters have a destiny/inevitable fate, AT LEAST make sure they reach that destination by the characters' OWN choices made by their own free will, not as directed because they were 'supposed to'.

Series finales are a hard business. I sympathize for the folks crafting that final storyline, tinkering with all the little nuggets of subplots upon subplots and character arcs that need to be tied up. It's a grizzly business, and I respect every single one of these writers, directors and actors for making some quite successful finishing episodes. No matter my ranking, no matter my feeling about 'em, kudos to all of you. And yes, even you two, Damon and Carlton. Cheers!