I think about a world to come where the books were found by the golden ones, written in pain, written in awe by a puzzled man who questioned, "What are we here for?" All the strangers came today and it looks as though they're here to stay.

-David Bowie "Oh! You Pretty Things"

Wednesday, October 5, 2011

It's Always Sunny in Philadelphia


There are a lot of things I associate with Lollapalooza 2008. It was a great group of guys. We saw Radiohead, Rage Against the Machine, Nine Inch Nails and MGMT, among other artists. We ate some really great pizza and Adam didn't get to split it with us. Josh had trouble navigating the streets of Chicago. We did impressions of Christopher Nolan / Frank Miller's rough voiced Batman as we walked for hours through Chicago because of my blunder reading the El Train map.

But, really, the memory that comes up the most often is when we returned one night from a day of listening to the music and hung out together in the common room of the dormitory that we had rented a room at. Bryan Avery had brought the first two seasons of It's Always Sunny in Philadelphia and we watched that until we passed out. That was the beginning of my romance with It's Always Sunny in Philadelphia.

Lollapalooza is three days. It's Always Sunny in Philadelphia is forever.

Michael Emerson


Actor Michael Emerson. If you're anything like me you first encountered Emerson in the second season of LOST. I'd mention his character name, but even that would have spoilers surrounding it. Well, Emerson is back, and he's the star of the CBS show Person of Interest. Michael Emerson is a fantastic actor, and he can be fantastically creepy at times (he was on X-Files, once, you know, and they only hire creepy actors). I've rarely seen someone as talented at line delivery and facial expression, and I probably won't see many in the ages to come.

A Guide to Video Game Lingo 10

1. Platforming (verb) - jumping from suspended platforms and/or over obstacles.


"I can handle the enemies, but these platforming sections are killing me, literally."

2. Boss (noun) - a computer-controlled opponent who is usually far stronger than any opponents faced previously which generally occurs at the climax of section of a video game.


"That boss battle was a breeze. Wait a minute. It's back form the dead and changing into a secondary form. Are you kidding me?"

3. Mini-boss (noun) - A.K.A., middle boss, sub-boss, midboss; a smaller boss, usually less powerful than the main boss for that particular section of the game, sometimes simply a more powerful version of regular opponents.


"If the mini-boss was that hard, I'm not looking forward to the boss."

Spoiler Alert: Fringe S04E02

My girlfriend apparently saw several flashes of Peter Bishop in the previous episode, not just the one when he flashes in and out of reality while Walter is talking about how bad he thinks alternate Walter is. Furthermore, this particular episode is probably my favorite Fringe episode of all time, although it might be eclipsed by that episode that centered around the rogue Pattern Observer. You know, the one they stole the idea for Adjustment Bureau from... Not only did this episode revolutionize crime procedural work, but it told a touching and very human story of hope, fear and courage. I'm excited to see the Fringe divisions from both sides comparing cases. The solved from one side could assist the unsolved from the other. Similar cases could give enough data to solve a case. And what I'm most excited for is a split-screen case in which the same thing is happening in both worlds. Maybe some day...

1. An Indelible Mark

At the beginning of the episode, we know why Walter is covering all of his mirrors. It is because an unknown man he calls The Man in the Mirror - his son, Peter - is trying to communicate with him through reflective surfaces. What isn't immediately clear is why Walter has been sleeping with unnecessarily loud classical music playing. (Of course, if you thought there was more to the headset feedback on the previous episode than meets the ear, you may have suspected why Walter is now trying to "hear no evil.")


If it wasn't clear to you before the end of the episode, Broyles' speech regarding "people who leave an indelible mark on your soul, an imprint that can never be erased" unless you are a Pattern Observer with a strange suitcase devise made of old television parts which served as a prelude to Walter's haunting by Peter's voice saying, among other things, "Help me," should have told you. Peter is communicating verbally with Walter, and it appears that he is in need of some serious help.

Is anyone else beginning to wonder how all of this is going down from Peter's perspective? My guess: we'll have an episode that recaps the last few weeks from the vantage point of the nearly vanished Peter Bishop.

2. Love Triangles

In the beginning, Astrid teases Olivia about the possibility of dating Lincoln. Both have lost their partners. Both are lonely. But Olivia seems oddly against the situation. It's as if she loves someone else, but can't remember who that person is (mmm hmmm, Peter, mmmm hmmm).


When we are on the other side, we are reminded that alternate Lincoln is basically in love with alternate Olivia. The only problem is that alternate Olivia is already with a doctor who is fighting diseases that we cured decades ago in America. That's two love triangles that share two points each. Jeez.


Between this underlying story and the story of the serial killer / forensic psychologist, we are being told that things are much more similar between dimensions than they are different.

3. Olivia, Murderer

When alternate Olivia asks regular Olivia what happened between her and her abusive step-father, our Olivia explains that she killed him.


Those of us who have been watching Fringe from the very beginning know that Olivia did not kill her stepfather. In fact, she remained afraid that he could come back at any time in the first and second seasons.

How does this make sense? My guess is that when Olivia met Peter for the first time as a child, she felt hope. She felt like she didn't need to kill anyone. But when Peter was not brought over to our universe, she did not have this one moment of release in the flowers, so she was pushed to kill her father. It's kind of insane how much of an impact Peter had on these people's lives.

4. The Grass is Always Greener

Finally, and here is the really big reveal: Gas is only ninety-nine cents on the other side.


Now, considering the fact that both universes are falling apart and there is no more or less danger on either side of dying, I think I would prefer to live in the alternate universe.

Of course, that's banking on the idea that they sell bootleg copies of our DVDs in the alternate universe. I don't think I could take it if I could never see Michael J. Fox in Back to the Future again.

See you next time.

Arnold 365, Day 278 (Terminator 2: Judgment Day)




Banner by Adam Friedli.

Tuesday, October 4, 2011

Spoiler Alert: Person of Interest S01E02

Person of Interest remains sensitive to the problems that we have faced in the ten years since September 11, this episode referencing the stock market crash and its repercussions. Furthermore, we find out that "the machine" and its logs of video and audio are a perfect method for integrating flashbacks into the show. Person of Interest remains smart and interesting, and here are some of my reflections on the show.

1. Good Cop, Bad Cop

Detective Carter, who I referred to in a somewhat sexist manner last week as the "lady cop," is clearly the good cop, at least on the surface. When Reese calls for a "meeting" between himself and Carter, only to give her Theresa Whitaker, the girl relates that Reese said she could trust Carter. In this sense, she is a good cop.


But perhaps Carter's being a good cop could be exactly the problem. As a cop she does her best to stand up for justice, but in fact she is much more connected to the laws. What's the difference? The laws are little steps here and there meant to lead us toward justice. But since they are imperfect, since they are not justice itself, they can sometimes lead us away from justice. Carter is trying to track down Reese, or as she says, "some guy in a suit." His fingerprints are at tons of crime scenes, he relates to eight case files (four of which have been redacted, making me wonder: who is redacting Reese's "crime spree"?) and to be fair, he's killing people. Regardless of how much the audience believes that these criminals deserve it, much of Reese's activity is straight up illegal. But it may just be just.

Carter is doing what a cop ought to do, and that is exactly what might make her and Reese enemies.

Lionel, on the other hand, is described as a dirty cop from the very beginning. In this episode he tells Reese that he cannot get a file for him because people may suspect that he is a dirty cop. Reese responds, "You are a dirty cop."


Lionel has underground connections, and we can suspect that he is useful to Reese both because of his underground connections and because of his police connections. But what happens if we find out Lionel is all bad, that he is setting Reese up, working with some people that Reese has already pissed off in order to make things hard for Reese. There are tons of ways that Lionel could be either a terrible foe or a horrible liability for Reese. If he works in with Carter, she's probably going to be the first one to know that he's not doing the right thing, and by investigating Lionel she may find her way to Reese.

But, then again, maybe Lionel is as loyal as Reese believes he is. Maybe Lionel believes in doing the right thing, believes that Reese is doing the right thing, and believes that he ought to do everything in his power to support Reese.

2. Crazy Theory of the Week

I mentioned at the beginning of the "Spoiler Alert" project that I used to be obsessed with LOST. Well, one of the things that comes out of watching a show like that for a very long time is that you're likely to have some crazy theories that don't fully make sense. The other thing that comes out of it is that your theories are sometimes right.

This week, I have this crazy idea that Mr. Finch is a cyborg.


When Mr. Reese is attempting to track Mr. Finch, Finch allows it for some time before disappearing and suggesting that they have their meeting on Finch's time, not Reese's. This suggests that, without the use of some supercomputer, Finch can track Mr. Reese. Is this because his back door into the machine is somewhere in his body?


Also, it has been brought to the forefront a couple of times that Finch has a limp. But it's more than that. Finch walks so squarely, hobbling like a 1950s robot in a sci fi movie. Maybe he doesn't walk correctly because he is a first generation robot / human hybrid, a cyborg.

Consider also the fact that Mr. Reese could be a reference to Kyle Reese, the man who traveled back in time to protect Sarah Connor in Terminator. With this in mind, "the machine" seems a whole lot like Sky Net. What if Finch has become "the machine's" creation rather than the other way around? What if Finch is the part of the computer that deals with the irrelevant?

3. Finch's Past

Through "the machine's" records we see a glimpse of Finch's past. In this glimpse, we see Finch (did anyone notice if he was limping in the past? my bet is that he wasn't) interacting with an unnamed colleague (an actor that LOST fans may recognize). We know very little about this character, but he has quite a bit to say about Finch and his machine. He calls "the machine" an "Orwellian nightmare," due to the fact that it can track people so carefully. (This is, of course, a reference to George Orwell's 1984.) He says that Finch has been leading a double-life, presumably balancing a normal family life and job with a secret federally contracted computer project. But what if Finch is something else?


In the second flashback, Finch keeps referring to the builders of "the machine" as we. There is the possibility that this mysterious colleague is responsible for some part of "the machine," and perhaps this is why he criticizes the thing's existence. When they discuss the relevant and the irrelevant, the colleague holds Finch personally responsible for "the irrelevant," the people slipping between the cracks who could be saved. Last episode, we thought that it was Finch's conscience that held him accountable. I think there's a decent chance that Finch's colleague is actually a close friend, and that he was one of the irrelevant people who got killed as a result of Finch's oversight. Guilt is one of the most important motivators for personal change. (Of course, it also connects you so thoroughly to the past that it's hard to change.) I think we can assume that, dead or alive, this character will play an important part in the upcoming story.

Finch also mentions that only eight people in the world know that "the machine" exists. If that number does not include Finch and his friend (and later Reese), we can assume that there are somewhere between eight and eleven people who know of it now. And if I know anything about television drama, this means that all of those people have a target on their heads.


Finally, we see a bust of The Founder in the office building that Mr. Finch (or "Harold," as his co-workers know him) leaves. The Founder lived from 1962 until 2010. Is the founder actually Mr. Finch? Did he fake his death in 2010 when everything went wrong and he decided to start doing some right? Or is this more of a tribute to a filmmaker who died in 2010 who was integral to getting Person of Interest off the ground? Of course, there's always a chance that this is an entirely different mystery altogether. Looking at the bust again, The Founder looks a whole lot like Finch's colleague. I guess there's only ten or less people in the world who know about "the machine." What do you think?

Fringe


I've been watching Fringe since the beginning, hoping and praying that it would be the next LOST. It was a J.J. Abrams show and I still believed that J.J. Abrams was the reason that LOST was great. (He isn't.) For the first two seasons, I always wanted Fringe to be great, but it was stuck in a strange episodic format even though it was clear that there was an important umbrella story to be told. And it was so darned bright. The fringes of science and society feel like a dark territory, unimaginable and frightening, but this show glowed. I think all of these things were problems because Fringe was always almost being canceled and they had to cater to the needs of the network.

The third season of Fringe spent a lot more time on the seasonal story arc, and it was a lot better than the previous seasons. This is the season that hooked my girlfriend Amy even though I was anxious that she would make fun of me for watching the show. The stories got a lot more interesting, but they still weren't there yet. I'm two episodes into the fourth season and I can say without a doubt, Fringe is finally there. "One Night in October" is probably the best Fringe episode that I have ever seen, and judging by the feel I've been getting for the fourth season there will be more of these episodes in the future. It's strange to think that at the end of last season Fringe was moved to Friday nights (A.K.A., where sci fi shows go to die), and that now it's telling the best stories it has ever told.

I just hope that doesn't mean that Fringe is getting canceled before they finish their tale. Yeesh. That would suck.