i wanna walk around with you...
know where to go where our bodies go...
damn winter sucks. gonna be 44 on saturday? yay?
i made a hula hoop today!
also i forgot to go to a meeting.
other than that, been doing pretty good.
as proof, here's my winter term project:
(don't worry steph, no huge spoilers!)
Getting LOST
Many people scoffed at me when I told them that my Winter Term project would be watching LOST. While it was only one of many things I did in January, I found the need to defend my choice to myself as well. It was a great show that I'd been watching for a while, but I felt that there was something about its place in modern society that warranted further exploration. In watching each of the episodes for a second time, I came to realize exactly what makes LOST such a groundbreaking show.
I've been a fan of the show since my older brother introduced it to my family during the show's second season. From then on, we'd have family LOST night where we'd gather around the TV for some pizza and quality entertainment. It was fun, but we often found aspects of the show frustrating. After many episodes my dad would curse the writers, saying "These assholes are just playing with us! They're just making this up as they go along, and we're stuck along for the ride." Despite the creators' claims that, yes, they do know exactly where the show is going and no, the characters aren't all dead or in some autistic kid's head, I too found it hard to believe that every twist and turn was truly purposeful (For instance-the dinosaur-like monster from the first season = black pillar of smoke aka Smokey Joe? Gimme a break!). Despite the grumblings and frustration, I knew we'd all be back to tune in next week, along with millions of others.
So what makes the show so special? Why this action-drama out of the dozens of others that pop up each season? How has LOST managed to achieve the revered 'cult' status of shows like The X-Files, and with a much broader audience? For one thing, LOST is obviously more accessible to different kinds of people, offering something for everyone: mystery, violence, humor, conspiracy theories, moving personal stories, and young, sexy, half-naked hotties running around on a beach. What more could you ask for?
And yet I think that the show resonates with audiences on a deeper level than its focus-group demographics suggest. LOST skillfully plays on many of the undercurrents present within modern civilization: the terrors and unintended consequences of existent and not-too-distant advances in modern technology, medicine, and scientific theory (electro-magnetism/time-travel, medicine's quest for immortality, and even air-travel), uncertainty about who is really in charge (the Dharma Initiative, the Hanso Foundation, and unexplained military operations-all reflective of our current economic and political climate), not to mention reoccurring themes of religion, fate, mathematics, and inter-personal relationships. All of these factors are skillfully combined to bring up questions lurking just below the surface of modern society's collective consciousness.
The inter-connectedness of all the characters and repetition of certain themes (e.g. The Numbers) serve to draw the audience into the 'conspiracy' facet of the show, giving them a chance to bask in the residual glory of "fate"-like John Locke who desperately searching for a reason for it all. While it is possible to participate in the show on the most basic level-tuning in every week-the conspiratorial aspects of the show lend themselves to the creation of hundreds of active web-based communities where fanatics can gossip and theorize about the show. Gimmicks like the Hanso Foundation commercials and website launched during the second season were particularly effective in drawing viewers even deeper into the LOST universe. ABC has even taken to airing "enhanced" versions of the episodes in which little blurbs pop up to point out things like trivia and character connections. Despite the resentment I'm sure hardcore fans feel about this feature, it most certainly became necessary when the writer's strike of early 2008 lead to a significant shortening of the forth season to 13 episodes instead of the usual 24, which resulted the jamming of each episode chock-full of revelations and new questions. Indeed, it seems that the series almost requires a second look at every detail, for each new connection draws LOST fans closer to the "truth."
In my research online (via "Lostpedia"), I found out that there exists something called "The LOST Experience." It is described as an "alternate reality game." The very name suggests the extremes that fans are willing to go to immerse themselves in the world of the show. The game was used to reveal very disturbing facts about the Hanso Foundation, as well as the source of The Numbers (Apparently they are the constants of the fictional Valenzetti Equation, which supposedly predicts the end of mankind!). It is unclear whether or not these details are ever going to be tied to the actual show, but either way, "The LOST Experience" is yet another facet of the show that offers fans an escape from actual reality.
Aside from marketing schemes, the genius of the show also lies within its writing and structure, which is often very self-conscious, and occasionally tongue-in-cheek. For instance, Hurley episodes are notoriously 'light' compared to many others. The third season episode "Trica Tanaka is Dead" features Hurley as he tries to fix a broken VW Bus found on the island. The episode comes in between very intense dramatic ones and serves as a kind of comic relief. As if to acknowledge this fact, during a flash-back a news-reporter (Trica Tanaka) berates Hurley for shedding too much gloom on her 'light' news story: "It's a puff piece, Mr. Reyes, do you know what that is?" she asks, shortly before she is hit by a meteorite. In another third season episode, "Exposé," which also comes in between heavy dramatic episodes, the writers also appear to be teasing the audience by introducing two characters (Niki and Pablo) for the first time-before abruptly and cleverly killing them off. "Guest stars never last," says Niki during a flashback. The facetiousness can also contribute to the more frustrating aspects of the show-lingering questions are alluded to but not answered. A favorite device of mine, however, is the periodic emergence of a background character, a survivor of Flight 815 who we have never heard from. They usually are complaining that they are not in the "in" crowd, or Saywer makes a quip about how he doesn't know their name-and then they meet some abrupt and violent death (Dr.Leslie Arzt is probably the best example). All in all, the cleverness of the characterization and dialogue throughout LOST contribute to the genius and excellence of the show.
While the extended length of time between seasons and the disjointed airing schedule has made me often wish that the show would just END already (rather than risk getting canceled due to low ratings), I have found that after my second and close viewing of all the episodes, I am supportive of the show ending as planned in 2010. I know that the ending will not possibly satisfy all fans, but I sincerely hope they manage to answer all of those unanswered mysteries (Who is Jacob???).
LOST has been an innovative show on so many levels. Not only has it managed to play on our modern consciousness and entertain us, but it has also been groundbreaking in its portrayal of character-types not normally portrayed on mainstream television: Sayid as a Muslim and an Iraqi, as well as Jin and Sun as a complex couple of Asian decent. The international flavor of the show is deeply ingrained in the plot, and reflects the consequences of globalization in a modern and technological world.
No LOST moment will ever be ingrained in my memory as much as the first airing of the season 2 finale: a thunderstorm outside my window made the sky glow an eerie orange color, and as Desmond was about to blow up the hatch I caught myself wondering…could this all be REAL? For a television show to truly make viewers question their own reality (if only briefly) is certainly a great accomplishment for our time. Thank you, namasté, and good luck!
i love this school.
just you, just you, just you, just you ...
damn winter sucks. gonna be 44 on saturday? yay?
i made a hula hoop today!
also i forgot to go to a meeting.
other than that, been doing pretty good.
as proof, here's my winter term project:
(don't worry steph, no huge spoilers!)
Getting LOST
Many people scoffed at me when I told them that my Winter Term project would be watching LOST. While it was only one of many things I did in January, I found the need to defend my choice to myself as well. It was a great show that I'd been watching for a while, but I felt that there was something about its place in modern society that warranted further exploration. In watching each of the episodes for a second time, I came to realize exactly what makes LOST such a groundbreaking show.
I've been a fan of the show since my older brother introduced it to my family during the show's second season. From then on, we'd have family LOST night where we'd gather around the TV for some pizza and quality entertainment. It was fun, but we often found aspects of the show frustrating. After many episodes my dad would curse the writers, saying "These assholes are just playing with us! They're just making this up as they go along, and we're stuck along for the ride." Despite the creators' claims that, yes, they do know exactly where the show is going and no, the characters aren't all dead or in some autistic kid's head, I too found it hard to believe that every twist and turn was truly purposeful (For instance-the dinosaur-like monster from the first season = black pillar of smoke aka Smokey Joe? Gimme a break!). Despite the grumblings and frustration, I knew we'd all be back to tune in next week, along with millions of others.
So what makes the show so special? Why this action-drama out of the dozens of others that pop up each season? How has LOST managed to achieve the revered 'cult' status of shows like The X-Files, and with a much broader audience? For one thing, LOST is obviously more accessible to different kinds of people, offering something for everyone: mystery, violence, humor, conspiracy theories, moving personal stories, and young, sexy, half-naked hotties running around on a beach. What more could you ask for?
And yet I think that the show resonates with audiences on a deeper level than its focus-group demographics suggest. LOST skillfully plays on many of the undercurrents present within modern civilization: the terrors and unintended consequences of existent and not-too-distant advances in modern technology, medicine, and scientific theory (electro-magnetism/time-travel, medicine's quest for immortality, and even air-travel), uncertainty about who is really in charge (the Dharma Initiative, the Hanso Foundation, and unexplained military operations-all reflective of our current economic and political climate), not to mention reoccurring themes of religion, fate, mathematics, and inter-personal relationships. All of these factors are skillfully combined to bring up questions lurking just below the surface of modern society's collective consciousness.
The inter-connectedness of all the characters and repetition of certain themes (e.g. The Numbers) serve to draw the audience into the 'conspiracy' facet of the show, giving them a chance to bask in the residual glory of "fate"-like John Locke who desperately searching for a reason for it all. While it is possible to participate in the show on the most basic level-tuning in every week-the conspiratorial aspects of the show lend themselves to the creation of hundreds of active web-based communities where fanatics can gossip and theorize about the show. Gimmicks like the Hanso Foundation commercials and website launched during the second season were particularly effective in drawing viewers even deeper into the LOST universe. ABC has even taken to airing "enhanced" versions of the episodes in which little blurbs pop up to point out things like trivia and character connections. Despite the resentment I'm sure hardcore fans feel about this feature, it most certainly became necessary when the writer's strike of early 2008 lead to a significant shortening of the forth season to 13 episodes instead of the usual 24, which resulted the jamming of each episode chock-full of revelations and new questions. Indeed, it seems that the series almost requires a second look at every detail, for each new connection draws LOST fans closer to the "truth."
In my research online (via "Lostpedia"), I found out that there exists something called "The LOST Experience." It is described as an "alternate reality game." The very name suggests the extremes that fans are willing to go to immerse themselves in the world of the show. The game was used to reveal very disturbing facts about the Hanso Foundation, as well as the source of The Numbers (Apparently they are the constants of the fictional Valenzetti Equation, which supposedly predicts the end of mankind!). It is unclear whether or not these details are ever going to be tied to the actual show, but either way, "The LOST Experience" is yet another facet of the show that offers fans an escape from actual reality.
Aside from marketing schemes, the genius of the show also lies within its writing and structure, which is often very self-conscious, and occasionally tongue-in-cheek. For instance, Hurley episodes are notoriously 'light' compared to many others. The third season episode "Trica Tanaka is Dead" features Hurley as he tries to fix a broken VW Bus found on the island. The episode comes in between very intense dramatic ones and serves as a kind of comic relief. As if to acknowledge this fact, during a flash-back a news-reporter (Trica Tanaka) berates Hurley for shedding too much gloom on her 'light' news story: "It's a puff piece, Mr. Reyes, do you know what that is?" she asks, shortly before she is hit by a meteorite. In another third season episode, "Exposé," which also comes in between heavy dramatic episodes, the writers also appear to be teasing the audience by introducing two characters (Niki and Pablo) for the first time-before abruptly and cleverly killing them off. "Guest stars never last," says Niki during a flashback. The facetiousness can also contribute to the more frustrating aspects of the show-lingering questions are alluded to but not answered. A favorite device of mine, however, is the periodic emergence of a background character, a survivor of Flight 815 who we have never heard from. They usually are complaining that they are not in the "in" crowd, or Saywer makes a quip about how he doesn't know their name-and then they meet some abrupt and violent death (Dr.Leslie Arzt is probably the best example). All in all, the cleverness of the characterization and dialogue throughout LOST contribute to the genius and excellence of the show.
While the extended length of time between seasons and the disjointed airing schedule has made me often wish that the show would just END already (rather than risk getting canceled due to low ratings), I have found that after my second and close viewing of all the episodes, I am supportive of the show ending as planned in 2010. I know that the ending will not possibly satisfy all fans, but I sincerely hope they manage to answer all of those unanswered mysteries (Who is Jacob???).
LOST has been an innovative show on so many levels. Not only has it managed to play on our modern consciousness and entertain us, but it has also been groundbreaking in its portrayal of character-types not normally portrayed on mainstream television: Sayid as a Muslim and an Iraqi, as well as Jin and Sun as a complex couple of Asian decent. The international flavor of the show is deeply ingrained in the plot, and reflects the consequences of globalization in a modern and technological world.
No LOST moment will ever be ingrained in my memory as much as the first airing of the season 2 finale: a thunderstorm outside my window made the sky glow an eerie orange color, and as Desmond was about to blow up the hatch I caught myself wondering…could this all be REAL? For a television show to truly make viewers question their own reality (if only briefly) is certainly a great accomplishment for our time. Thank you, namasté, and good luck!
i love this school.
just you, just you, just you, just you ...