i'm hooked on a theory

It's Tuesday, and in my world, very little occupies my thoughts except for that of LOST. Pathetic, sure, but since we're in the final stretch, I see no harm in appealing to my inner geek and enjoying these last moments.

Anyway, I wanted to just briefly give anyone who cares a piece of what I'm thinking about, in regards to the final season, but specifically to Jacob and his friend.

SPOILERS AHEAD, NATURALLY...

Good and Evil seems to be the buzz words when it comes to these two folks, but in last week's episode, we saw that both of these guys deemed the other one "Evil", or "The Devil." This struck me as fascinating, and definitively proved that this isn't about good and evil, in the absolute sense.

I'm reminded of the season 2 premiere title, "Man of Science, Man of Faith", an episode that highlighted the struggle Jack has with Locke's blind faith in his "destiny" and in the Island's powers. As we've seen, Jack has slowly become a man of faith, someone who just last season, took the biggest leap of all and tried to explode a hydrogen bomb, in order to reverse the past and make their lives better by never having their plane crash. Locke however, had his faith fail him countless times, ultimately leading to his death, and to him becoming the face of the Smoke Monster.

So, here's what I'm thinking: this conflict is key to the show. It has been since season one. So, instead of good vs. evil, I wager the show is presenting a much more interesting approach: Faith vs. Reason. Here's why:

Jacob - He's an enigma. He speaks only through Richard Alpert, who as we've learned, was also not privy to everything. He asks only that those who follow him learn for themselves what they must do. They know they are special, having been given a gift, but in the end, they have to figure it out on their own. He leaves things unanswered on purpose, so that people like Jack can learn on their own.

MIB - Smokey takes a different approach: he's forthright. He spells it out like it is, almost over-simplifying things. He promises results in exchange for discipleship, and his arguments are sound, and reasonable. He holds little back.

I think when Jacob was saying that The Island keeps "evil" from pervading the world, he wasn't talking about demons, or monsters, but rather an overflowing of Reason. Reason teaches us so many wonderful things, through science and philosophy, but what would happen if Reason was to pervade our world on a massive scale? What would happen if EVERYTHING was spelled out for us, and we knew all the answers? I think we'd all be asking ourselves "So, what now? What's left to believe in?"

I think belief and faith is something crucial to human existence, whether it's in God, or Buddah, or Allah or even whether it's faith in Science. Scientists have faith, believe it or not. It may be a more secular faith, but it's faith nonetheless. They believe that Science can prove all the mysteries of the world, even though they can't see it, they believe it. If Scientists had all the answers, what would be left? Our understanding would be complete, and Science would become fact and life would be, well, boring.

The Island governs that balance. It keeps Reason at bay, allowing men to discover for themselves how to be men, and how the world functions. It promotes the need for faith, for belief. But, as it is a balance, Reason still is allowed to exist, for it is as necessary as faith.

What's interesting to realize is that while Faith is the enemy of Reason (which is why MIB was so dead set on killing Jacob), Faith has no reason (ha!) to despise the idea of Reason, because without Reason, there can be no understanding, and isn't that what we are all seeking? Understanding? Jacob wants his followers to understand, but he doesn't want it all spelled out, because then what's left to learn? Jacob needs that balance, or else he's done for.

It's a balance. It's like the Cave of Names and the two rocks. One without the other is chaos, either a world of blind faith without reason, or reason without the ability to learn for one's self.

Also, look at it another way: Jacob believes men are good, and he's desperate to prove that to MIB, while MIB believes men are inherently evil, capable of terrible things even without negative influence. That seems to further emphasize the varying belief systems of these two individuals: If men are good, then they don't need all the answers to make a better world, but if they're evil, then you need to spell it out for them to help them make the best decisions.

So, essentially, the Island serves as the ultimate place of understanding. All the answers are there, everything we could ever want to know about The World. But, with Jacob as its ruler, those answers are kept hidden from the Island's inhabitants, allowing them to discover the answers for themselves. With Jacob gone, the world is in danger of losing faith, and becoming all knowing, if MIB were to leave. To the MIB, that's a wonderful thing, because there are no secrets, no blind following of mystical entities. In his mind, the world is better off understanding itself than constantly questioning itself.

Jacob brings people to the Island to keep trying to prove to the MIB that it's better for him to be imprisoned and locked away on the Island, but he's been failing. The men keep killing each other off, proving, in a sense that without the influence of Jacob, men will still be evil. Now, enter Richard Alpert, who introduces the notion that maybe Jacob's approach is flawed; if they don't know to follow Jacob, how can they not listen to Reason, the only other voice on the Island? So, Richard begins to gather castaways, with the help of Jacob, and we get The Others, the indigenous folk who help Jacob to guide his "candidates", fully aware that one day the MIB will kill him (for he knows all, right?).

Now, this only accounts for the Jacob/MIB thing, not the time travel, Jughead, Dharma Initiative, Flash Sideway stuff. That is all still a mystery to me, but I for one hope they connect to my theory.

So, there you go.

Probably a lot of hokum, I know. But, what else you gonna think about when you can't sleep? There's so much more to this story, that I'm half-convinced this is wrong, but I like to believe it anyway. It's what makes the show so much fun; it means so many different things to so many different people. And, I think it'll remain relatively ambiguous all the way to the end. We'll get our answers, sure, about the Island, and where exactly these two fellas came from, but apart from that, why would we want to know more?

jeux d'enfants

Today I made two very frustrating gaffs in my attempts to be a good sport in the Game of Social Networking. One involved me making a fool of myself. The other involved me making a fool of myself, and losing a friend in the process.

First booboo: I found out via various stalking methods (you know, the kind where you see someone you know in your friend's "Friends" section on Facebook, and so you click, and that clicking leads to more people you know, until eventually you're looking the blog of someone you know, but haven't had the gumption to add them as a friend. That kind) that someone I knew from high school was engaged to someone else I knew from high school. I wanted to congratulate her, because I just think its cool that her and him hooked up. I mean, in my mind it made sense. So I added her as a friend, and said something to the effect of, "I'm adding you as a friend because I want to congratulate you", as if that was the sole reason why I needed her friendship, so that I could show her how happy I am for her. Because that matters to her. I then went on to remark that the two of them "make sense," whatever that means. After I sent it, it took five minutes (read: far too long) before I realized what I said was COMPLETELY ridiculous. So, I waited. I waited for her to (hopefully) add me as a friend.

And she did. So, I tried to make amends. I apologized for sounding like an idiot, and all felt right. Until I posted it on her wall. And then read it back. Here's how it read in my head: "Dear Self: You have succeeded in twice making a fool of yourself with this person. Stop now, or risk her unfriending you." Red face. Foot in mouth. Stomach churning with anxiety.

Now, it must be noted that I don't have a "Friend Complex." (This is important for both this story, and the one to come.) I don't have any need to accumulate 5,000 friends (which is the max, I believe), or even 300 friends. I'm happily content with my 222 (previously 223 as of 8 pm) friends. I rarely befriend folks who I don't know. So there.

Okay, so on to the next:

I have a certain friend who I've known for years. We went to school together, church together, camped together, talked together, played too many video games together, and saw a lot of movies together. We were good friends. As we've grown older, we've grown apart, naturally, but we managed to keep in touch. He married a fine gal from Colorado, and then moved to Provo. He even starred in my first film project. Anyway, we had some good times.

So, today, he posts something on Facebook about how he's noticed that those he knows who complain about the film Twilight seem to be --and continue to remain-- single. Like any upstanding Twilight critic/single man, I took slight offense to this, because it seems to be insinuating that single people "just don't get it", and that somehow, being married gives you keen insight into the love-starved brilliant mind of Stephenie Meyer. (Side note: I get really fed up with folks who use their marital status as, well, a status symbol, positioning themselves above their single friends, as if to say "Well, what's wrong with you?". It gets old.)

Anyway, back to the status. So, I called him out on it. I mentioned that I've seen Twilight 3 times, and that it's just a terrible movie. I called his comment "douchy", because it kinda was. This kid is known for his sick sense of humor, but this rubbed me the wrong way. So I told him about it. I figured he could take it, considering he dishes it out himself quite frequently. I was at relative peace with this, until I got a notification that he had commented on my comment. I clicked it, and got a surprise: He was no longer my friend. I couldn't read his comment. He not only replied to what I said, but in his anger, he wasn't even going to let me read it!

I was livid. I didn't get it. I vented. I talked it out with someone over Google Chat. It felt good. During this chat, I was peeking around, wondering if his wife would soon follow suit, and cancel our digital friendship as well. It was then that I saw ANOTHER thing that took me aback: her relationship status no longer listed my friend. He was gone. I searched his name, and nothing came.

I asked my Google Chat friend to search his name, to see if he blocked me. Sure enough, he had. He had blocked me. My friend of over 10 years blocked me because I didn't like Twilight. Or, at least that's what I have to assume.

Looking back, I have to wonder if I'd somehow deserved this. Him and I did have our differences of opinion, and I was probably more vocal about it than anything. This could have led him to become increasingly annoyed with me, possibly hiding me from his feed, or whatever. Maybe I earned this final goodbye by continuing to annoy him.

Whatever it was, it still feels petty. It still feels like he's in the wrong. Who unfriends someone, and then blocks them forever? Who is that ridiculous? He is, I suppose.

I emailed him, asking what I did. I have to know. I have to understand how I offended him. It's bothering me. I can't stop thinking about it. I mean really! Who could not like me? (the answer is plenty of people, as I'm beginning to learn)

*Sigh*

Oh well, right? Two infractions of social networking etiquette. They're not uncommon. One hasn't resolved itself (she hasn't responded to my wall post), and the other still lingers, but I'm beginning smell the heavy scent the finality. I doubt he'll email me back. I don't think he cares to know me anymore if he's that serious about blocking me. Makes me sad.

So, in an effort to better myself, I have to look back and wonder: what can I learn from this? Well, for starters, I need to keep my trap shut. Sarcasm doesn't register in black and white. Also, just avoid being a dill-weed on the Internet. Don't hide behind miles of distance between you and your subject; imagine they're in the same room as you, and only say things you'd say to their face. I think that's a good rule of thumb, don't you?

Baby Fish Mouth: Revisited

In the ever burgeoning spirit of change that's been sweeping the nation, I decided to revisit my list from last year regarding the shows I watch, including a few new ones that have picked up steam and tickled my fancy...

NOTE: Last year is written in plain text.
Right now is written in bold.

NEW SHOWS:

Modern Family - This is one of only two new shows I look forward to. The pilot had me almost on the floor laughing, and each episode since has been just as hilarious. And it has heart, which is crucial to a good, solid comedy. NOW - Still the funniest show on TV. It makes 30 Rock look weak, and it has pushed that show down a few pegs on my must-see meter. It's a shame.

Community - It's got Joel McHale, and it's wonderfully absurd. It too has heart, but it's a tad bit more cynical in its delivery, but I laugh consistently. NOW - It's consistently funny, and I'm in love with the characters more and more each week. I fear for what season 2 will bring, simply because I can see the show either getting high on its own comedic success (following the inevitable Emmy nominations), or trying to raise the stakes and grab viewers (similar to how 30 Rock front-loaded its second season with too many guest stars). We'll see. For now, I love it. A very, very close second to Modern Family as the funniest show on TV.

Glee - The music is fab-u-lous. The other bits? Not so much. Still, it's appointment television (it's the other show I look forward to). I'm not a fan of the show's central conflicts, but it doesn't hurt the show too much. NOW - This show rocked its mid-season finale, wrapping up conflicts, and bringing on the musical mayhem. I hear great things about its upcoming back 9 (Idina Menzel, Neil Patrick Harris, a Madonna episode, Joss Whedon directing, the return of Kristen Chenoweth, more songs per episode... the list goes on), so here's to a bright future.

The Good Wife - This show makes me want to be a lawyer. Not only are the cases compelling, but the central idea (disgraced politician's wife restarts her life as a junior associate in a law firm after her husband is sent to jail) drives the show to new heights. A must see NOW - Still the best new drama, and also one of the best dramas on network TV. The writing has remained sharp throughout, twist after twist. I like what it is, and I hope it never changes.

FlashForward - I don't know about this one. I'm intrigued, for sure, but I don't ache for this show like I did for LOST in its first season. I think its still figuring itself out. My suggestion? Get David Goyer away from as many scripts as possible... And lets focus on less characters, please... NOW - Its back 9 started back up last week, and it was iffy at first, but it picked up in the premiere's second hour, focusing on the enigmatic Simon (Dominic Monaghan), and answering A LOT of lingering questions. Should be interesting to see where this goes.

Cougar Town - I've only seen the pilot, and frankly, I was super creeped out. It got a full season pick-up so it must be doing well. I'll check it out once the back nine kick in. Here's hoping they remedy the creepy.NOW - I have watched more of this show, and I like it. It's not a show I watch consistently, but it's a nice distraction when Modern Family is over.

Cleveland Show - HATED the pilot. Haven't seen it since. NOW - Still don't care. Blech.

Eastwick - Desperate Housewives with magic. But boring magic. The guy playing the devil is good, but the women are dry stereotypes. Nothing exciting NOW - Cancelled. Thankfully.

Justified - So good. The pilot was phenomenal: tense, well-acted, and loaded with the promise of good, juicy drama. Check it on, Tuesdays at 10 on FX.

Archer - I'm on the fence with this one. I saw an episode way back when, and it felt forced, and I felt lost. But, I went back and watched the premiere, and laughed quite a bit, so maybe I need to watch it from the beginning. We'll see.

Parenthood - A decent show. Not super high on my must see list, but nice nonetheless. Lauren Graham is a welcome face to see again on Tuesday nights, so there's that. Still, she's no Lorelai Gilmore, so... Just not the same...

V - It had a great, if too short, first half (if you can call four episodes half), so I look forward to what's to come. I hear it's good. I like that it has a fast pace, and that it's not looking to develop an expansive mythology. This is an action show, pure and simple. And, thankfully, it's actually fun to watch.

Caprica - I completely overlooked this (thanks to Jacob for reminding me). I'm really far behind on this show. I JUST saw episode five, which was by far the best (the V world stuff with Tamara Adama will hopefully continue to be awesome), so I'm excited to watch the rest. My TiVo has been fickle about recording, because of some technical glitches, so I've had to wait and whatever. It's annoying. I like the show. It's slow. It's not Battlestar in terms of intensity, but it's fun to see how that world came to be. It's provocative, and it's certainly having fun pushing a few current political issues, but I like it. I don't love it yet. But, if it continues to touch on the philosophical and spiritual, and emphasize just how this gets us to the Cylon War, I'm down to fall in love.

RETURNING SHOWS:

Dollhouse- I'm officially bored with this show. After the supposedly game-changing "Epitaph One" episode, I expected a resurgence of energy in this show, but I see none of that. All we've gotten so far is Echo getting married, and nursing a baby. Uncool, Whedon... Uncool. NOW - As we all know, Dollhouse died in January, but not before pulling out all the stops, delivering some of its best episodes. Fantastic stuff. A master class for bubble shows: this is the kind of closure every bubble show should shoot for in its final hours of unwatched prime-time glory.

Grey's Anatomy - After an awkward season last year (but a pretty phenomenal finale), this show feels like it did in its second season. I hope it continues. NOW - Yeah, they were good episodes, but the show is back to dullsville. I don't miss it when I don't watch it. Never a good sign.

House- I like this show. It makes for a nice Monday eve. NOW - Same ole, same ole. They did get rid of my favorite character, Cameron. Still not sure how I feel about it. BUT, they're bringing Cynthia Watros (LOST's Libby) into the mix for an arc. Should be fun.

Heroes - I broke up with this show after the abysmal season premiere. I did watch Bryan Fuller's recent (and well done) episode, so my interest is piqued as to where it's heading (quite the cliffhanger), but his departure still has me unsure. NOW - Dead to me. I stopped watching, and never looked back, despite the rallying cries of "But it got better!" Sorry. I just don't buy it. Or rather, even if it were true, I just don't care anymore to care. It's as simple as that

The Office - This show is uneven for me. Season 2 is still where this show peaked. The Jim and Pam wedding was wonderful. I still enjoy it. NOW - Good. Watchable. Not stellar, but good filler b/w the ever better Parks and Rec and 30 Rock. The Halpert Baby Birth episode was pretty funny, if not a bit too silly. I just have to accept that this is what the show is, and not expect Ricky Gervaisian levels of subtle awkward genius. *sigh

Parks and Recreation - I'm actually liking this more and more each week. I think they're hoping for a bit of The Office mixed with 30 Rock, as the show has become significantly more absurd. After the underwhelming first season, this is nice to see. NOW - Love it. It's better than The Office, for sure. I feel like they've found their groove. But, with the news that Paul Schneider is leaving the show, and that Rob Lowe is joining the cast, I'm a bit dubious. And to top it off, Amy Poehler's pregnancy is causing the show to rush into production on its third season. I just hope the writers and actors aren't too burned out from a stellar season, forcing them to fall down the joke spiral. I hope not.

Fringe - I love this show. The mythology is fun, and its delightfully macabre. Yeah, it's not brilliant television, but I'm entertained, and I'm rarely bored. NOW - The mid-season finale was PHENOMENAL, furthering the show's bizarre mythology, and making it more and more relevant to the character's lives. I'm hearing amazing things about the April 1st episode. Can't wait.

Big Bang/HIMYM - Still good. Big Bang seems to get funnier each week. NOW - HIMYM is treading water. It's getting a bit stale. Barney is the best part of that show, and even he is starting to feel overdone. This last episode was a good example of that: Barney was hilarious. The rest? Not so much. Painting Ted as a man slut? Huh? Stop changing history to serve your story! I no likey. Big Bang is still funny, but the Penny/Leonard relationship isn't working. That's not the what this show is about anymore, so they need to put the focus back on Penny and Sheldon, and the bizarre friendship that has emerged b/w them. Still, I laugh. So, there you go.

LOST - Come on. Do I need to comment? Okay, I will. It's been a slow start, admittedly. The Flash Sideways are cool, but there's a sense that they're bogging down the show's main thrust, and I can agree with that. I want to see them coming together. I need to see how they relate more. The Dr. Linus episode was fantastic in that regard. But, we have gotten some interesting bits of mythology answered, including the notorious numbers, so that's a big deal. I'm excited. I'm not bored. I can feel it leading somewhere. I don't know where, but its somewhere, and that's better than in the early days of Caged Sawyer and the Rabbit of Hydra Island, when things were slow, but they were also going nowhere.

Breaking Bad- We're only one episode in to the third season, and I'm already on the edge of my seat. A great follow-up to its shocking finale last season. Can't wait to see where it goes.

24 - Oh my boring. This season has put me to sleep several times over. The last two episodes (haven't seen Monday's) have been a nice change of pace, but it feels like too little, too late. Thankfully, I'm hearing this is its last season, which means Jack Bauer will be hitting the big screen. Where he belongs.

Chuck- Love this show. And you should too. It's witty, action packed, romantic and loads of fun. You don't even really need to watch it from the beginning. Here's a primer: Chuck is an accidental spy. He has a computer in his brain that helps him be a spy. He loves the blonde, and she loves him. Complications ensue. Hilarity follows. Just watch it. Mondays at 8. NBC.

Project Runway- My patience is running thin with this show. The judges seem to be off in crazytown, picking designs that just seem ridiculous to win, but also picking contestants who are just too boring for their own good. If it weren't for Southern firecracker, Anthony, this season would be a HUGE bore, much like last season was. Boo.

Damages - This show is back with a vengeance. Last season was sort of the show's Quantum of Solace, pausing far too often so that poor Ellen Parsons could seek revenge for her fiancé's murder and the attempt on her own life, as opposed to focusing on the main legal case and it's repercussions. This season however has not only taken its story straight from the headlines (tackling  a Bernie Madoff type and his family), but has kept the focus primarily on the case. And, don't even get me started on the doozy of a twist in its first episode back. Wow. Way to slingshot this season forward in one single moment. Bravo.

Gangway for Footcycle!

This is a great article that talks about a time when finding a rare film was something not unlike finding a treasure map to incomprehensible riches in your attic.

Read it here...

My reason for posting it is because it touched on something that I've been trying to deal with for so long: the idea that once a film exits the theatres, it ceases to be a big deal.

I've discussed this before, and it was a big reason why I stopped liking movies those many months ago. Today, almost every single film is at our fingertips, whether through Torrents, Netflix, Redbox, On Demand, or what have you. Sure, that freedom to watch something whenever we want allows us the privilege of leading half-way decent lives. It lets us schedule our viewings in our iPhones, because there's no need to interrupt our lives for a film.

But, looking back as a kid, going to a movie, or renting a movie was the highlight of my tiny existence. I would go out of my way to do my chores and be extra awesome to my parents so that they would oblige my wishes for a simple $3.50 ticket to see Hook, or to rent Suburban Commando (please, no jokes.) Sure, they saw right through my efforts, but that's not the point: I made a big deal out of it, and because of that movies became a big deal. It became something almost magical. In short, I was willing to do ANYTHING to go to the movies. Seriously. Anything.

But, then I became a teenager. My parents got lazier (or rather, we became more responsible), and they got more money, so going to the movies became a more frequent occurrence. We'd rent two movies or so a month (maybe four, if we had a coupon), and that was more than enough. I was satiated. I was complete. But I was also becoming complacent.

Now, after four years at university, films are never out of my reach. I have the means to rent one if I want. I can also buy one, go see one, or even download one, whenever I want. No chores to do. No big deal to make.

Last year when I had my epiphany about movies was the moment when I realized that a crucial part of my movie equation was missing: They weren't a big deal anymore. They weren't the highlight of my week. They weren't the one thing I looked forward to more than anything. What had happened was they had become my life.

And so I looked around. I saw that it wasn't just me who had lost out on the "big deal" portion of the equation. The advent of all things digital had also created a gap in the old-timey ways of viewing cinema. It was all too easy, and all too accessible. Before, we would have to stop everything to watch a film; now, we multi-task while watching films. We even have to show commercials about it at the theater to get folks to stop multi-tasking just watch the frakkin' film...

Ugh.

But seriously, what I wouldn't give for someone to take my movies away*, and hold them hostage. What I wouldn't give for someone to make movies a big deal again.

And with that, I offer some hope:

James Cameron did something close to miraculous (in this day and age) with Avatar. He made an event film. He made going to the movies a big deal. This wasn't a movie you could download, or rent or get on demand, because you'd be missing out on what makes the film unique. I'd always saw 3D as a viable means to get butts in the seats, but never did I expect it to become what it is becoming. It's making movies special again. Sure, it costs more, but when it's done right, 3D gives us something we can't (yet) get at home, or on our computer. And I'm all for it.

Now, a slightly different realm, but applicable nonetheless:

Some of you may know what The Room is. Most of you probably don't, nor should you. It's arguably the worst movie ever made, but that's not the point. This film, not unlike The Rocky Horror Picture Show, has created a cult following in New York and L.A., where midnight screenings of the film are a common occurrence. Apparently, they're amazing screenings. People yell things at the film, and they participate. In short, they make it a big deal. Now, contrast that with how I first saw the film: as an April Fool's Joke on Adult Swim. Alone. I later saw it on DVD with my brother, and that helped, but it didn't have the same chutzpah that a midnight screening with a crowd would have garnered. Part of me regrets seeing it this way. Part of me thinks it could have been a better experience (the movie is so horribly bad that it's hilarious. Like this. Or this. And especially this...) by seeing it with other people, in a theatre. Part of me wishes I had paid to see it, as opposed to simply chancing upon it one Sunday night. Can I be certain of this? No, obviously. But, what I can be certain of is that the actual act of taking time out of my life to attend something of this magnitude would instantly classify it as a bigger deal than simply picking it up at the Redbox after getting some milk. It's just a different beast.

And I'm almost 100% sure it's a better one as well.

So, a call to action: Let us all try and make movies special again. Let's make them something we are willing drop everything for, and take the time to savor. Let's make 'em a big deal. Again.

*I have actually had this happen. It lasted two years, and I really think it helped. 

I Just Want My Kids Back

This is for those who are curious about the film industry, in terms we can all understand...Money.

Thanks to Eric for posting this...


Via: Online MBA

Aha!

I don't know what's in the air lately, but for whatever reason I've found myself drawn to British television (and one film). It's probably because, along with being a serious Francophile, I'm a also an enduring Anglophile. I've loved all things British since before I could remember, and with the Olympics on, there hasn't been much good American television to watch (besides LOST). So, here's a rundown of the generally excellent British fair I've been enjoying these past few weeks:

Jekyll - This is a neat little miniseries from Coupling creator/writer (and future Doctor Who producer) Steven Moffat, that takes a modern and conspiracy-driven look at the Dr. Jekyll/Mr. Hyde mythos. Loaded with mystery, it's a fun ride. The last episode has a neat little twist, and then a not so neat one, so you've been warned, but other than that, it's a stellar series. (Caution: it does contain some colorful language). Netflix Instant Watch

Emma - A new adaptation of Jane Austen's book, staring Romola Garai (Atonement) and Jonny Lee Miller. It's nice to finally see a lengthy adaptation of Austen's book (I've seen Clueless and Gwyneth Paltrow's Emma), because there are so many peripheral characters that get the short shaft in both of those films. This one makes for a great Sunday afternoon, clocking in at only four hours. Fantastically produced and superbly acted. Masterpiece Classic on PBS (it's on DVD now, too)

The IT Crowd - I don't know why it's taken me so long to jump on this show, but it has. I wasn't super impressed with the first two episodes, but all the ones that have proceeded it have been laugh-out-loud hysterical. Netflix Instant Watch

Knowing Me, Knowing You with Alan Partridge - Aha! It's a parody chat show, complete with the most imbecilic of presenters ever to grace the BBC. Steve Coogan is Alan Partridge, a character who most definitely inspired Ricky Gervais' equally as ridiculous David Brent. Brilliantly conceived and just down right funny. A worthwhile rent. Netflix (the mail version)

Knowing Me, Knowing Yule with Alan Partridge - This is the Christmas special for the previous series. Probably the best episode of the series, for sure. You can watch the whole thing here on Dailymotion, if it suits you. Just brilliant. And it serves as the segue into this...

Or watch it here:

Alan partridge knowing me knowing yule. Part 1
Uploaded by CentralSouth. - Full seasons and entire episodes online.

I'm Alan Partridge - Following the Christmas special, Alan finds himself relocated to a small hotel in his hometown of Norwich, relegated to doing an early, early morning DJ stint at the local radio station. This is a more traditional sitcom, but still brilliant and amazing, thanks in part to smart writing and Steve Coogan's peerless performance. Netflix (the mail version)


Here's a good clip.

In The Loop - This is probably one of the best political satires I've seen in years. The comedy is sharp and the one-liners are juicy. Definitely not one for the kiddies (the language is rough), but if you can handle the swearing, it's smart, sad, and wonderfully hilarious. Netflix (the mail version)

The Thick of It - This is the TV version of In The Loop, with the same actors playing different characters (save for Peter Capaldi's vicious Malcolm Tucker, who appears in both). Equally as funny, and just as smart (although, it does help to understand British politics a bit. I still get confused, but the gist is relatively universal, so it works). Nefarious means Totally legit means of acquisition...

(If you're keeping score, the last five shows have one thing in common: Armando Ianucci, who writes, produces, and sometimes directs all of them. He's up for an Oscar this year for his script for In The Loop. He won't win, but boy does he deserve to...)

Top Gear - I was VERY skeptical about this show, but with two solid recommendations from friends, I had to give it a shot. I found it incredibly entertaining, and not because I have a thing for cars. Cause I don't. I hate to drive, and so I just don't get all happy pants around motorized vehicles. But, despite all of that, the charm of this show is undeniable. Very fun. Netflix Instant Watch