Charles Widmore, you scoundrel! First you fake the Oceanic Flight 815 crash site, now you dupe the Bolivians with your fake crash footage? What's your angle, Chuck? Trying to purge the poor Bolivians of their soybean market and making a mockery of their obviously stellar journalistic instincts? What did they ever do to you?
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Showing posts with label LOST. Show all posts
Showing posts with label LOST. Show all posts
Monday, June 29, 2009
Friday, March 23, 2007
The Dumbest Fucking Idea I've Ever Heard
So, ABC has apparently been hyping a proposed new method to deliver ads to consumers without them noticing. For example, an ad might pop up on a TV, and then the show will cut in to the TV's picture. Brilliant! People won't even know that they're watching a commercial! Of course, the question would be: If all commercials are integrated into the programs, then they'll have to zoom into another show, and then zoom into its seamlessly placed add. And what if it's a period piece? ABC's "LOST," for example is set a couple years in the past now and all its flashbacks take place even further in the past.
says president of marketing Michael Shaw:
“We want to bring the audiences right to the commercial so they don’t feel they’ve gone into the commercial."
At least one advertiser is smart enough to (sort of recognize that this won't work:
"Shari Anne Brill of ad agency Carat USA, who watched the presentation, remarked afterwards that the examples presented "an interesting idea," but she wondered whether the shows' "writers and producers will help them pull this off. ... I imagine more powerful producers would say, 'No way, Jose.'""
You know why they'd say "No Way Jose?" Because they wouldn't be able to tell a fucking story! Sure, breaks are annoying, and they might cause pacing problems with the action, but at least you can tell a story about a bunch of people stranded on an island without needing them to walk by a TV every god damn 15 minutes. And you know what? ABC has a show with that very set up.
Commercials are enough of an annoyance already. Don't make it worse by invalidating the dramatic value of our entertainment by having John Locke talk about how he's not only in tune with the island, but also in tune with tastey Apollo Chocolate.
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says president of marketing Michael Shaw:
“We want to bring the audiences right to the commercial so they don’t feel they’ve gone into the commercial."
At least one advertiser is smart enough to (sort of recognize that this won't work:
"Shari Anne Brill of ad agency Carat USA, who watched the presentation, remarked afterwards that the examples presented "an interesting idea," but she wondered whether the shows' "writers and producers will help them pull this off. ... I imagine more powerful producers would say, 'No way, Jose.'""
You know why they'd say "No Way Jose?" Because they wouldn't be able to tell a fucking story! Sure, breaks are annoying, and they might cause pacing problems with the action, but at least you can tell a story about a bunch of people stranded on an island without needing them to walk by a TV every god damn 15 minutes. And you know what? ABC has a show with that very set up.
Commercials are enough of an annoyance already. Don't make it worse by invalidating the dramatic value of our entertainment by having John Locke talk about how he's not only in tune with the island, but also in tune with tastey Apollo Chocolate.
Wednesday, March 21, 2007
How to End a 'LOST' Episode
The ending of last week's episode was deliciously surreal. So great, in fact, that it's got me thinking about all the other great episode endings. Post your favorite surprises and reveals in the comments section, and sometime soon I will compile the ultimate top 10 LOST endings (maybe in preparation for the season finale).
If you aren't caught up on "LOST," stop reading and do it now!
Really, I don't want you reading this if you haven't seen every episode up to Wednesday, March 14.
Go!
OK, spoiler warnings on. Skip to the next entry.
The ending of last week's episode was deliciously surreal. The mission to break into the Others' suburban barracks has been accomplished. Next step: Find Jack. Only, what's that off in the distance? Jack is running for the bushes? Does he see his friends? If so, what of all the enemies in the area? Then, like in a dream, one incongruous image leads to an even stranger one. Jack catches a football. And throws it back to Tom! The two are smiling at each other, while Kate, who was so adamant about the rescue mission, looks on in disbelief. Jack catches the ball again, does a little spike-it victory dance and the LOST closing title comes up just like we knew it would.
The conclusion is at once surprising—we don't expect to see the castaways' petulant leader admitting to the enemy that he's having a good time—intriguing—what happened in the day or two since we last saw Jack, and is he (figuratively) playing his enemy or truly converted—and funny. It's funny not only because the image is so unexpected, but because you admire the show's writers and director for finding such an impressive way to manipulate your expectations and get you jonesin' for the next episode.
With tonight's installment looking to explain why Locke's been acting so fucking batshit insane, the show better continue the roll it's been on for the last couple episodes.
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If you aren't caught up on "LOST," stop reading and do it now!
Really, I don't want you reading this if you haven't seen every episode up to Wednesday, March 14.
Go!
OK, spoiler warnings on. Skip to the next entry.
The ending of last week's episode was deliciously surreal. The mission to break into the Others' suburban barracks has been accomplished. Next step: Find Jack. Only, what's that off in the distance? Jack is running for the bushes? Does he see his friends? If so, what of all the enemies in the area? Then, like in a dream, one incongruous image leads to an even stranger one. Jack catches a football. And throws it back to Tom! The two are smiling at each other, while Kate, who was so adamant about the rescue mission, looks on in disbelief. Jack catches the ball again, does a little spike-it victory dance and the LOST closing title comes up just like we knew it would.
The conclusion is at once surprising—we don't expect to see the castaways' petulant leader admitting to the enemy that he's having a good time—intriguing—what happened in the day or two since we last saw Jack, and is he (figuratively) playing his enemy or truly converted—and funny. It's funny not only because the image is so unexpected, but because you admire the show's writers and director for finding such an impressive way to manipulate your expectations and get you jonesin' for the next episode.
With tonight's installment looking to explain why Locke's been acting so fucking batshit insane, the show better continue the roll it's been on for the last couple episodes.
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