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Posts tagged as “Lost”

Long story short, I hate plagiarism.

Yesterday, I came across this video, which is an episode of a web-series called Long Story Short.
It was posted a couple of weeks ago on reddit, under the title “This youtube series is really good. It has everything it takes to be popular except the popularity“.
I immediately recognized the concept and execution of the series from a similar identical French show on Canal+ named Bref.
Here’s a sample episode:
http://vimeo.com/45587443

It was interesting seeing an American version of this very popular French series.
Except for the part where this American version was actually plagiarizing the very popular French series.

I’m already hearing the complaints about my plagiarism complaints:[list]

  • Didn’t Picasso say “great artists steal”? (spoiler alert: he wasn’t talking about plagiarism)
  • Are voice-overs copyrightable now?!
  • Isn’t every creation actually recreation?
  • Dude, chillax, we’re all made from the same star junk, right? Isn’t our life, like, really about copying each other? You know? Like if you think about it, we’re all just one big gooey mess. Right?

Groan.[/list]

According to a comment they made, the “creators” were not ripping off Bref, but were actually “inspired” by a similar Israeli show/concept. This one.
The thing is, they forgot to mention the part about how the Israeli show is actually an official remake of Bref. And by official, I mean it has the complete blessing of the original creators, et al.
Woops.

Long Story Short is more than the cover of a song. (Which, by the way, would still have to be credited to its original author.)
It is more than just “inspired by”.
If anything, the lack of acknowledgement towards Bref or its Israeli counterpart in an official capacity (i.e. in the show’s credits) is, well, completely disingenuous.
To quote a reddit comment on the subject:

I’m all for official adaptations of this format and style but the original creators did something really specific and special and to just steal it for an American knockoff without crediting (or getting the blessing of) the original filmmakers isn’t cool.

Now, I’m not saying you should pay royalties to Lost every time you use flashforwards, but there are times when “inspiration” is just a code-word for plagiarism.
This is one of them.
Because I’m not just talking about copying a format. Or just copying a voice-over. Or just copying pacing. Or just copying characters. Or just copying jokes.
I’m talking about copying all of the above. At once. Not just about copying the idea, but copying the execution and the content.
You know, pulling a LaBeouf.

Long Story Short is a blatant disrespect to both the original material and original creators it is stealing from.
It is plagiarism, pure and simple. And it needs to be known.

P.S.: If you’re curious about the original version of Bref, with English subtitles, check this channel out.

One and Gone: Reunion (FOX – 2005)

Some shows get years of success, while others barely get a few episodes to prove their worth.
Time to take a look at these oft-forgotten series and their single season. This is One and Gone.

On today’s program: FOX’s Reunion.

Presenting Reunion

38_10407_9db829a40dc65fa

What was it about?

Breakfast Club meets 24, or The Big Chill meets Lost.
Each episode of Reunion follows one year in the lives of six BFFs, starting with their high-school graduation in 1986 and ending in 2006 1998 (following the cancellation of the show after only 13 out of 22 potential episodes).
The show also features the running (main) plotline in the present (2006) of a detective investigating the brutal murder of one of the six friends the night of their 20-year reunion.
It’s high-concept, it’s very soapy, and it’s fun to watch the same actors play the same characters in their 20s, 30s and 40s–all within the same season. Should have been on The WB instead of FOX.

When was this even on the air?

Fall of 2005 on FOX. On Thursday nights at 9 (versus The Apprentice and CSI). Ouch. Talk about a competitive timeslot.

How many episodes?

13 episodes produced (out of a planned 22). 9 made it to air with the last 4 available online.

Stars & Stripes

Created by Jon Harmon Feldman and Sara Goodman, with the former serving as showrunner.

Regular cast:
[list]

  • Dave Annable (Aaron Lewis) as the lovesick puppy turned Internet entrepreneur
  • Alexa Davalos (Samantha Carlton) as the triangle love interest turned corpse
  • Will Estes (Will Malloy) as the BFF turned priest
  • Sean Faris (Craig Brewster) as the privileged asshole turned paraplegic
  • Chyler Leigh (Carla Noll) as the innocent girl turned femme fatale
  • Amanda Righetti (Jenna Moretti) as the wannabe actress turned
  • Mathew St. Patrick (Kenneth Marjorino) as the cop with a vengeance

Notable guest-stars:

  • Gregory Harrison as the privileged asshole’s asshole dad
  • George Newbern as the obligatory clichéd abusive husband
  • Geoff Stults as the handsome stranger struck with cancer
[/list] ReunionCast01

Review

I’m a big fan of dramas that play with storytelling structures, especially when it involves time (see 24 or Lost), so Reunion theoretically fits right into my playground.
But was any of it actually good? Let’s take a look.

The Ugly

This shot.
Reunion 1x05 1990_SingleShot

Present day
Before we get to the real novelty of the series, let’s take a look at the continuing narrative/arc of the season, which is entirely set in the present. To emphasize with the sunny past (I guess), we end up with some weird hyper-stylized present where everybody is a dead-eyed zombie living in a grey film-noir-esque world. Or something. (See the screenshots coming up)
This is a whodunit-style mystery about one of the six having been killed. Yet, halfway through the season, the present storyline starts to focus entirely on two characters’ involvement with the murder. In other words, the show stops featuring (and caring) about three of the five remaining friends still alive in the present.
Have I lost you already?
Now, what I’m describing already sounds like a terrible story, but the biggest disappointment isn’t that we’re seeing too much of the present; it’s that we’re actually seeing too little of it. The ratio of a given episode is about 80/20 in favor of the flashbacks, with the flashbacks completely overtaking the present in latter episodes. Why? My guess is that the last 2-3 episode of a theoretical full season would have prominently featured the events leading up to the murder (i.e. present-adjacent stories). Therefore, no need to talk about it before then.
Either that, or they realized how shitty the makeup looked.

Soap clichés
I know Reunion is a soap, but there were too many crappy twists for my liking.
And you get a pregnancy! And you get a wedding! And you get a surprise bastard!

The Bad

Before/After
dual1
dual2
dual3
dual4
dual5
Enough shown.

Meta jokes
Examples include:
– LOL UGLY 90s CELLPHONES!
– LOL INTERNET IS NOT THE FUTURE
– LOL OJ SIMPSON WILL NEVER MURDER ANYONE EVER

To quote the EW review of the time:

Even the ’80s scenes are weak because the writers are so taken with the setting, they can’t stop reminding us. Sloppily. One character calls Wham! ”the next Beatles”; another dances to ”Material Girl.” The gang dons double-layered polos, Frankie Goes to Hollywood-style T-shirts, and menswear-for-girls. In short, we’re never looking at ’86, or ’87, but an ’80s-world amalgam — and apparently anything that happened in that decade is game, even if it’s off by nearly 10 years.

Fortunately, self-referential humor isn’t the main point of the show. And past the 80s (i.e. the first couple of episodes), we don’t have to suffer through a lot of those inane references.

Some dialogue
Especially early on in the show, there’s quite a lot of bad lines (expositionary or other).
Here’s a frightful example from the pilot, said to the triangle love interest by her secret lover:

If Halley’s Comet’s coming back early for anyone, I think it’d be for you. <3

Cringe.

The characters
Less archetypes and more stereotypes.
They get fleshed out over the course of the half-season, but we don’t have the real satisfaction of seeing their complete evolution from walking clichés in the pilot (80s), to their more devilish counterpart in the present. Had the show gone on for a full season, I would assume this frustrating contrast would have been less jarring.

The Good

The music
Say what you will about the meta “time winks”, but I really enjoyed the music choices (at least past the pilot). Maybe it’s because I already enjoy the songs picked, but they ended up actually being relevant to the episodes’ content and featured scenes.

The actors
Again, despite the crappy makeup, you can’t fault the actors for doing their best and making some barf-worthy scenes just be cringe-worthy.
Special kudos to Will Estes, Dave Annable and Chyler Leigh for committing to some of these crazy storylines.

Time management
Apart from the present, the way Reunion handled the majority of each episode (i.e. flashbacks) was, in my opinion, a good use of storytelling.
Most episodes concentrated on a very particular moment within the year, and showcased through that lens the various events in the friends’ lives. Only in a couple of instances did they actually go through an entire year.
Either way, the “moments” they showed were the most relevant and illustrative of where the story was (as opposed to historical events). The writers chose to focus on the important events in the lives of their characters, regardless of when during the year they were taking place. This is in opposition to what they could have done: showcase historical moments within these years to cheaply entice nostalgia or emotions out of us. A pitfall that was avoided.

The Great

This double popped-up collar
Reunion 1x01 1986.avi_snapshot_17.18_[2013.09.07_13.25.39]

Bottom Line

Pilot to finale: Evolution of a single season

Reunion started bad. Really. The pilot of the show probably has the most hackneyed soapy storylines you’ll ever see. But the cool concept made me stay past it.
The show was at its height of ridiculousness when, within the same episode, the 30-something actors were playing both teenagers, and grayed-out 40-year-old equivalents. As I said, the makeup is really distracting. The more egregious issues however, were the constant callbacks and “look at me” nostalgic moments of the pilot.
Cut to thirteen episodes later, where the majority of these issues are mostly fixed. Once you get into the 90s, there are only a few minor nostalgic references, and the wardrobe doesn’t look that bad. You’ve gotten used to the soap storylines, most of them having actually become relevant to the ongoing plot. The present, however, is still a major issue (see above). Still, an overall positive evolution for only 13 episodes.

Watch or let it die?

Eh. It’s hard to give it a thumbs up when there are a lot of loose ends by the end of the show. You definitely won’t get enough of a complete picture to be satisfied.
The concept is executed well enough for a night-time soap (past the first two episodes), but the murder mystery is dragged on far too long. Worst part is the lack of any conclusion or real payoff of any kind.
The showrunner himself has confirmed that the murderer’s identity and motive (which you can find online, since they weren’t revealed in the show itself) can barely make sense for “us”, given the lack of information from years 1999 to 2006. Key events are completely unknown to the viewers, which makes the entire present storyline irrelevant.
A complete 22-episode season would have been worth the time investment, but as it stands now, the unfinished Reunion will live on as a haphazard foggy memory of what could have been.
Kind of like high-school.
Get it?

Final rating

On a scale of 1986 to 2014., I’ll give Reunion a solid 1989 B.C. with an unexpected pregnancy.

Treading Lightly: The Breaking Bad Legacy

With its five seasons, Breaking Bad redefined in many ways what a serialized show could accomplish. The little drama that could surpassed everybody’s expectations and left behind an amazing example of what television should strive to be.

Serialized binge-viewing

In the span of five years, Breaking Bad literally decupled its audience, going from under a million viewers for the series premiere to over ten million for the series finale. And it’s all thanks to a lot of binge-watch. “Marathoning” a TV show is nothing new. We all love to either catch up on, or watch for the first time a great show back-to-back. I’ve actually talked about this previously in regards to the impact on serialized shows. But this is something different.

Breaking Bad Saul
With the advent of Netflix and other great streaming services, Breaking Bad was able to capitalize on its serialization where other shows had previously failed. Word-of-mouth coupled with amazing cliffhangers (i.e. the need to watch the next episode) cemented its online boom.
It started out as a niche show that caught on with the popular success only coming the last couple of seasons. It is without a doubt thanks to the unprecedented access to Breaking Bad‘s previous seasons that viewers were able to not only catch up on the show but tune in live for the final episodes. Bad was the first drama to fully benefit first-hand from the one-click-away access to its serialized episodes. Everybody caught on just in time for the final season. With only a couple million viewers watching the series “live” during most of its run, it isn’t a stretch to believe that more people actually watched the show on Netflix than on AMC.

Grandeur and subtlety

We’ve already talked a bit about the realism of the series and its other strengths. Not the least of which is, without a doubt, the way it downplays a lot of it stories. Only a few shows have been dramatically successful at keeping their most intense scenes around characters (as opposed to action or mythology). Breaking Bad not only excelled at these moments, but showed that you didn’t need to have big and crazy moments to get a large viewership. Intense drama could come from the smallest of scenes and the littlest moments. It was also one of the most thought-out shows in history, with every details counting for something bigger. Subtle callbacks or clues that you would barely notice.

Breaking Bad Painting
A cross-season example is a painting that appeared twice in the show’s history, in very different circumstances. The first time was in 2×03 (“Bit by a Dead Bee”), with Walt waking up in a hospital bed after his “fugue state”. The second time the painting appeared, in 5×08 (“Gliding Over All”), Walt was ordering multiple murders from neo-nazis. “Where do you suppose these come from? I’ve seen this one before. Are they all in some giant warehouse someplace?”, he nonchalantly wonders. It’s a subtle detail that echoes back to another subtle detail three season prior. It’s also as much a callback as it is a subtle reminder that everything happening in the episode has ramifications beyond it.

Breaking Bad Crawl Space
On the other end of the perception spectrum, Breaking Bad offered another perspective: striking shots. With the advent of high-definition, wider televisions, and better systems, the “small screen” could rival on a visual level to its cinematic counterpart. To quote Michael Slovis, the series’ cinematographer:

It just so happened that during the last seven years, widescreen televisions became affordable. And HD became the norm. Now people could see what we were doing and we didn’t have to tell stories in the old style of closeup [then another] closeup. We would have told the story if everybody was watching it on tube televisions. But we were damn lucky that people started watching wide screen HDTVs.

Every frame told a story about the characters on multiple fronts. Lost brought amazing production value to the table, Breaking Bad led the cinematography to another level. The series showed that you could embrace the medium on a visual degree: size doesn’t matter anymore. The story may seem, on paper, small-scaled, but the truth is that the main characters simply cannot be contained in their environment. Even with a middle-aged guy lying in his basement, the drama proved that there are ways to make mundane shots grandiose.

Ode to transparency

There has been a lot of discussion recently about the state of fandom, especially in relation to larger genre series (most notably Star Trek and Lost). The discussion has mostly revolved around fans’ “sense of entitlement” around what production-related information should be made public. I won’t enter the debate right now, however I wanted to praise the Breaking Bad crew (writers, directors, editors, producers, etc.) for being so open about the process.

Breaking Bad Insider Podcast
My love for the Insider Podcast is well-known by now. Besides it being amazing from a TV writer’s standpoint, it’s also amazing for what it offers as a fan of television. The last podcast was a great case of that, as Vince Gilligan offered unproduced pitches/storylines from the show.
Television is such a collaborative process that it’s difficult to pinpoint specific idea on specific people, even if the showrunner will usually take most of the credit or the blame. What the podcast offers, in addition to information, is perhaps more important: context. Credit is given where credit is due. Everyone is very open about what they bring to the table in each episode.
A lot of people were annoyed (or amused) by the leaked Lost “ABC bible”, however I’d wager most of these people were not aware of where it fit within the history of the show simply because the blogs reporting on it didn’t provide context. It doesn’t help that bitching about the show and its writers is still in vogue.
But opening the door to the “inside” of a show isn’t about filling a sense of entitlement, it’s about showing respect. For the fans, for the creative process, for everyone involved. Breaking Bad, more so than any show before it, showcased every craft that got put into it. Right down to everyone game to come back to shoot an ad-lib the first AD came up with after wrap. The crew cared about the show, and through their transparency and openness, they shared the love.

Beyond Breaking Bad

Every Bad things must come to an end. It is difficult to say goodbye to such an intense show that, unlike other serialized dramas, piqued most of our interests because of its characters, rather than mythology or plot.

Breaking Bad Saul Ad
Unlike Lost three years ago, there is no need to “predict” the future of the series. In fact, until recently, the idea that Breaking Bad was any kind of franchise would have seemed ridiculous. And yet, we now know that a Better Call Saul spin-off is on its merry way. Bob Odenkirk recently revealed that the series would actually be darker than one might have previously imagined. I’m definitely looking forward to Peter Gould heading the project, and the black humor that comes with it.

After 62 episodes, it is impossible to summarize the drama in a few words, let alone identify a single thing to remember. From its compelling writing and mesmerizing montages, to striking acting and captivating music, the reach of the show has expanded like the reach of its main character.
The legacy of Breaking Bad is ultimately that of its premise: a successful experiment.