One of the major problems of this season is that it’s so damn complex. Finch has to be a professor and deal with students, Shaw is still selling perfume and driving the getaway car for thieves, Reese is buried under paperwork while trying to save people, and only the Machine knows what Root is doing. And then there are the numbers . . .
“Nautilus:” Samaritan is recruiting, luring a brilliant young mathematician into danger to dismantle a Blackwater analog that’s in competition with Samaritan. Finch tries to save her, but in the end, it’s Samaritan who rescues Claire and enlists her on its side. This is not good.
Which brings us to “Wingman.” Continue reading
I began to watch a John Sayles movie called Lone Star several years ago and almost turned it off because it kept switching to new characters with new problems. I can’t remember now how many–six? eight?–but I was completely confused. Fortunately, the writing was great and the actors were exceptional, so I stuck around. And as I watched, those multiple stories slowly converged, and as they converged, they added layers to each other. What had seemed like fairly straight forward character stories became complex, what happened in one story shifted the other, plot points took on different meanings, and I couldn’t look away. As I remember, I didn’t understand the impact of everything until the very last lines of the very last scene. It was a perfect inverted pyramid plot, everything resting on the final words.
This episode reminded me of that the first time I saw it. Continue reading
First, I forgot to do the “Previously on . . .” with the individual episodes we’re skipping yesterday, so I’m going with a fast second season recap instead. If you want to skip this, jump down to the row of asterisks: ********* Continue reading
I watched three TV episodes this week about teams of good guys battling a mastermind who communicated with minions using ear coms. Two of them aired in the past week, the other is several years old, but the basic plot was the same: bring down the mastermind. The difference was in the way the stories used their subplots, and it was a big difference.
(Important Note: This is NOT a writing technique, it’s a critical approach. Don’t do this for your own stories, it’ll make you insane.) Continue reading