Friday, February 15, 2008
Lost - "The Economist"
As much as The Cam Fam loves us some Lost, I've found that the show is much more watchable when we can catch it on DVR-delay and plow through the commercials. Last night, Mrs. Bootleg and I decided to give Lost a 30 minute head start before we jumped on. (In the interim, we watched the spectacular car crash of The NAACP Awards on Fox. There aren't enough keystrokes to capture all the unintentional comedy, but trust me when I say that EVERYONE should be rooting for Ruby Dee to win the Best Supporting Actress award at the Oscars later this month. Her acceptance speech last night was equal parts paranoia, senility and Abe Simpson.)
What Aaron Liked: Anytime we get a Sayid-centric episode, Aaron approves. Naveen Andrews consistently manages to raise his performance above the two-dimensional writing that's saddled his character since season one. The payoff in the opening sequence raised my expectations for the subsequent 56 minutes and, afterwards, was still the easy highlight of the week.
What Aaron Didn't Like: While I still believe that the flash-forwards are an effective story-telling device, it finally hit me that we're really not being told anything new. Sure, "The Oceanic Six" are off the island, but Jack's still a tortured soul, Hurley's back in the nuthouse and Sayid's still…well, let's be semi spoiler-free and say he's still "living a violent lifestyle". What's worse is that a plot-oblivious idiot like me called the episode-ending "turn" on Sayid a few minutes after his new love interest was introduced, while Mrs. Bootleg – who married into "plot-oblivia" – identified Sayid's "sponsor" from the sound of his voice on the phone. And, while it's still early, I'm not sure I'm going to dig where this whole "time disparity" angle is going. How about explaining the seemingly supernatural stuff you've already introduced, Lost writers, instead of piling more smoke (monsters) and mirrors on us?
Verdict: Meh. The writers have spent three years over-saturating the airwaves with Jack-Kate-Sawyer, so it's hard to get worked up about Sayid's fate when the viewers haven't been given any good reason to care about him. The musical chairs with the "rescuers-as-someone's prisoners" slant is equally uninteresting. A decent hour of entertainment, but enough with the BEST SEASON EVER exaggeration, lemmings.