THE BORE
General => The Superdeep Borehole => Topic started by: shosta on May 13, 2019, 02:34:43 AM
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Yes. No need to discuss further.
https://youtu.be/m1W0aC7Hewg
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https://youtu.be/qnOds-iDY0A
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That’s true.
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absolutely not
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https://www.youtube.com/watch?v=-Sgj78QG9Bg
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No and I would've stopped hoping for a good ending if I knew how much of a bumbling buffoon Lindelof is.
https://www.youtube.com/watch?v=k_DGamgvcXw
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You gotta watch a show on its terms. And the terms of this show consisted of Lindelof having the right to jerk your dick around whenever he felt like it. You just have to go with it.
I also loved Leftovers even though it has the exact same issues. I hope Watchmen becomes the best ruined orgasm in all of tv history.
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The biggest difference between leftovers and lost is that unlike lost, leftovers ended just about as it was about to get too distinguished mentally-challenged to enjoy.
So no, lost isn't even the best series Lindelof has made.
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https://www.youtube.com/watch?v=pb840BkY85M
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Not even top 10
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Easily, Television couldn't be any more uninteresting if it tried since LOST
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Looks like somebody just accidentally admitted that they've never seen a little series by Shinichiro Watanabe called Cowboy Bebop. :smug
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As far as popular mid 00‘s TV shows go, I‘d rank Lost slightly higher than O.C. California.
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https://www.youtube.com/watch?v=pb840BkY85M
Damn, I really liked FRINGE.
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Just like BSG (the "re-imagined" one), and now GoT, it's one of these shows that start great and then go to complete shit because the writers have no idea WTF they're doing.
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Just like BSG (the "re-imagined" one), and now GoT, it's one of these shows that start great and then go to complete shit because the writers have no idea WTF they're doing.
Sopranos headed that same way (Seasons 4 and 5 were all over the place in terms of quality), but Chase was able to save it by having some strong episodes in that final season.
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the writers have no idea WTF they're doing.
gaius baltar was pretty, pretty good. I think that show starts falling apart in Season 3 and then the story becomes soft mush by the finale of season 4 but overall I enjoyed it.
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the writers have no idea WTF they're doing.
gaius baltar was pretty, pretty good. I think that show starts falling apart in Season 3 and then the story becomes soft mush by the finale of season 4 but overall I enjoyed it.
I think he's the only character who remained consistent throughout.
Every single one of the main ones though? Lolz.
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Remember when President Roslin outlawed abortions? Yikes
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The pretty sincere fascist undertones of Battlestar Galactica and them settling into a military-civil alliance was pretty different from what I was used to in sci-fi, not going to lie. I remember there being a sizable plot arc in season 2 that was just the tension between Obama and Roslin. Battlestar Galactica consistently had better political drama than shows about real politics.
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The pretty sincere fascist undertones of Battlestar Galactica and them settling into a military-civil alliance was pretty different from what I was used to in sci-fi, not going to lie. I remember there being a sizable plot arc in season 2 that was just the tension between Obama and Roslin. Battlestar Galactica consistently had better political drama than shows about real politics.
:whew
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(https://i.imgur.com/Fc1rjUP.jpg)
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I am still not ready to accept that mid-aughts nostalgia is a thing. :tocry
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But have you considered the great British baking show
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It was enjoyable for the most part. The main issue was that they made it up as they went along. They just strung us along, from cliffhanger to cliffhanger. They had no plan. No general plot outline, no predetermined explanation.
Which is exactly what was wrong with Battlestar Galactica, too.
"And they have a plan" <- No, they really didn't.
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"The plan" thing in BSG was hilarious :lol
"Let's nuke them into oblivion"
"Shit some of them escape. Let's nuke their ships."
"On second thought, maybe we can use them to grow babies."
"Or maybe enslave them?"
"Wait, maybe they can teach us what love is. Baby don't hurt me."
"Fuck it, let's eradicate them."
MAKE UP YOUR MIND YOU TOASTERS.
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The thing with Lost was that they kept adding so many crazy plot points that never got resolved that eventually they had to resort to "magic" as an explanation, because they had nowhere else to go.
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Originally, the film serials maintained characters, setups, etc. but didn't maintain an ongoing story from one to the other except around certain basics. So in that way, Lost's barely staying cohesive from season to season, but remaining cohesive within each season is perhaps more accurate to the serial format than other shows that simply don't reset things regularly. Doctor Who and soap operas are influenced by the original film serial, regularly "resetting" certain things for irregular viewers or throwing everything out upon actor changes, shows that continue to tell one ongoing story are more commonly influenced by the singular story structure of film and books of some kind.
Otherwise no, lol, what was it your first "grown up" TV show or something. Arrested Development held together better and it was written with the belief it was being cancelled every season. And was a sitcom. And had better shock reveals: "Those are balls."
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Buffy says "hi". Season long story arcs, character development, actual resolution of all (or at least most) plotlines due to the fact that they planned ahead. Prior to Buffy (and X-Files*, which inspired the "monster of the week" format), there were virtually no (non-soap opera) TV series with ongoing plots.
*Of course X-Files' mythology turned out to be incoherent, disjointed or not make much sense, suffering from the same problem as Lost.
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Buffy was good, Angel was better and also would fit
Buffy, coincidentally also had three series finales, season three was shot to possibly be one as they were unsure about continuing it past high school, season five was done as if a definitive one, and then season seven was finally a real one (for the normies, Tasty, not us)
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also, speaking of the British, and sitcoms, and recommended-optional poli sci class syllabus assignments, Yes, Minister and Yes, Prime Minister advance from season to season as the party's fortunes change, Hacker's department changes in relevance and he eventually becomes PM (hence the series name change) as well as his understanding of how to manage Sir Humphrey and the bureaucracy he represents, along with Bernard and Humphrey's personal relationships with Hacker evolve
and another sitcom that I've made a thread about here, Newsradio perhaps ironically, much like AD, as its fortunes waxed and waned, produced seasonal-arcs and multi-seasonal arcs, most notably in who owns the station and how it reflects on Dave/Jimmy's situation and then of course when Phil Hartman died
Larry Sanders Show another sitcom, albeit one on HBO, that was doing the ongoing plot format before the "revolution" of TV that led to it appearing everywhere including on broadcast TV where it was once considered impossible to pull off
One argument is that NBC was unintentionally producing this type of sitcom as its number one hit for longer than anybody at the time realized, as Cheers, Seinfeld, Wings, Frasier and Friends all generally did not "reset" affairs as often as other shows, even if it maintained the main outline of the series (actors changes helped Cheers/Wings do this long before it became in fashion or intentional) and a lot of it was tweaking in-show relationship setups. (Seinfeld most notably introduced gobs of outside the foursome characters to avoid this.)
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it's worth noting that according to the creators BSG and the once serial show Alias (I had forgotten it was like this too) were both ordered by higher ups to stop clinging so tightly to the ongoing plot...around season three for both I think. Moore knew how to do this from DS9, but it really showed the mess that comes about from starting a show like that and then derailing it, only to want to get back to it at the end. (Alias I think just totally gave up.) DS9's opposite setup of continually introducing pieces without a plan and then putting them all together and eventually becoming straight serialized for three periods including the finale ten-parter comes off as better written even though BSG apparently had a plan the entire time while DS9 never had one until they cracked each season.
Talking about DS9 in relation to BSG is fair game Trek invoking imo because Moore basically said it was his version of Voyager without restraints after he spent time on that show after doing DS9.
Coincidentally, Babylon 5, the unmentionable in the room, already showed the problems of such tight serialization dominated by a single writer on what were the still network models of the era. That Moore wound up resorting to a bunch of the same pulls that JMS used in trying to fit B5 into his own timelines with (like half seasons! and spin-offs to explain stuff he had to cut!) is delicious. I mean, if you were some kind of dork on the internet for the days when all of this happened while JMS posted constantly raging at everyone like a sci-fi show Derek Smart. And Moore kept doing chats where he low key responded to this nonsense.