Mah...io mi aspetto una stagione come la terza se non migliore..
Un pò di mitol
Intanto se volete..leggetevi un pò di spoiler raccolti su Lostpedia
martedì 26 giugno 2007
Quarta Stagione ...cosa ci aspettiamo?
Mah..perchè no
Ci sarebbe una rivelazione da confermare per cui la donna dell'incidente sul ponte di Jack,altri non sarebbe che la sorella di Juliet....vedere qui .
Nome e cognome non corrispondono..ma tutto sommato nel mondo di Lost niente è scontato.
Quello che mi sembra da scartare è una somiglianza tra il bambino dell'ospedale ed Ethan..ma anche qui...potrebbe essere il padre "in vitro" visti i tentativi e gli esperimenti..oltre che la sua presenza a Miami...se vi ricordate.....
Grazie Pacio per il link!
lunedì 25 giugno 2007
Lost - Synchronised events around Plane Crash
Una ricostruzione per i nostalgici.
Ben ritrovati a tutti!
venerdì 8 giugno 2007
Ferie
Beh..toccano anche a me...ci rivediamo tra due settimane...Lost sarà un pochino più vicino....
Salutoni a tutti
mercoledì 6 giugno 2007
Emmy
Dopo averlo vinto con la Prima Stagione nel 2005 ed essendo rimasti all'asciutto l'anno scorso,quest'anno si ripresentano con un episodio tra i migliori ,anche se forse non il migliore in assoluto dell'ottima Terza Stagione: "Through the Looking Glass".
Spoilerissimo per la Quarta Stagione
Prese con le molle,sembrerebbero abbastanza attinenti...
So we are couple of weeks into the off season and I am sure each and everyone of us is just itching for some insight on Season 4.....well guess what....!!??
I have the first set of MAJOR MAJOR spoilers for season 4...!!
Now before I start I would like to clarify a few things......the info is from a VERY credible source and NO I will not tell you who/what gave me this information....
Also, I have been sitting on these spoilers for a few days now (because of my trip) and do NOT know what has already been posted on other sites. So if any of these are repeat spoilers, sorry.
Furthermore, my source told me, that as of this past weekend ONLY the story board for S4Ep1 was in the works.....SO please take ALL of the spoilers below with a BAG of salt....the writers are known to change their minds..... :)
HOWEVER, like I said this info is from a credible source and is based on the WRITER'S GENERAL DIRECTION FOR SEASON 4. Plus, keep in mind that majority of spoilers I posted for the last few episodes of season 3 were true. The spoilers that didn't occur were cut and will MOST LIKELY make the DVDs or will happen in Season 4.
**SPOILERS BELOW**
NOTE: The spoilers are numbered and some of them are followed by my opinions after dash marks.
1) The REASON why Kate is NOT in jail during the future (flash-forward) story WILL be explained in the first 2 episodes
2) Penny will play a big role in the first 4 episodes and/or later
3) MORE deaths on the way
-- Uh ohhh.....maybe those rumors about the cast NOT getting along ARE true....
4) MORE new Losties will be introduced
-- Hopefully the writers have learned their lessons and introduce them better than Razzle and Dazzle..
5) We WILL get a Danielle flashback but it will leave use wanting more.....the episode will explain some of the questions that the fans have asked at live events and forums...
-- WOOT!!! Hmmm....I wonder.....has she REALLY been on the island for 16 years....is she a an other....is she Annie....!!??
6) Many of the Losties who left the island WILL have a future story (flash-forward) and it will be SHOCKING to see what has happened since they left the island.....this will help us understand a little of WHY Jack really wants to go back
-- I am assuming we are going to see some MORE darkness and other Losties that have broken down just like Jack. Also I guess this puts to rest the argument that JUST Jack and Kate got off the island.
7) Still MANY flashback stories on the LOSTIES have yet to be closed
8) Jacob is the NEW monster (he will be seen in many episodes but not explained) and the monster will be explained (sort of)
-- Ooookkk....lol....this one alone will keep me confused during the off season.......???
9) The history of the island WILL be explained but unsure if that means about the "natives" or the island itself....
-- Natives huh...??....can any one say Ancient Cultures Thread........??
10) The Ruins and the "Temple" mentioned by Ben will be the explored by Locke
-- Hmmm looks like Bad-Ass Locke is on more adventures...??
11) Michael & Walt and also.......Libby WILL return BUT don't expect much of their stories until mid-season
-- Sooo I assume this MEANS Michael & Walt in REAL time OR flash-forwards and perhaps either Zombie Libby OR her in MORE flash-backs.
Source: The ODI
martedì 5 giugno 2007
Quanto siete Lostmaniaci?
Avrete capito che la mia è una vera e propria lostmania..ma voi quanto lo siete?
Mandatemi le vostro foto con magliette,gadget ed altro..oppure postate il vostro livello di LostMania..che dire.. dobbiamo arrivare a Febbraio ed è lunga ...molto lunga.....:-)
Due puntate..per passare l'estate..
Questo tizio si diverte a scrivere puntate,e devo dire che si fanno leggere con piacere..
Hanno un loro filo logico e non sono del tutto campate in aria.
A voi l'ardua sentenza..
Chiaramente sono presi dal sito di DarkUFO,che ringrazio.
Prima puntata
Seconda puntata
Source: Paul Osatczuk
venerdì 1 giugno 2007
Comparazione delle puntate finali di Heroes e di Lost
Last night’s episode of Lost threw down the gauntlet for all of American television, daring other shows to shake up their status quo in as major and exciting way as they did. But coming a couple of days after the finale of Heroes – a finale that even the show’s zombified fans must see as wildly disappointing – the finale of Lost reads like a major fuck you to the sorry attempts at serialized storytelling it has inspired.
Tim Kring’s Heroes has often been seen as an answer to Lost – where ABC’s show is all about the mysteries and teasing things out for as long as possible, NBC’s superhero spectacular is unwilling to leave its viewers in the lurch for more than a couple of episodes. It’s part of the show’s basic modus operandi: where Lost has faith in your intelligence and stamina, Heroes knows that its audience isn’t that bright. Never mind Lost’s ambitious literary and philosophical references (‘You’ve always been a hero!’ is about as philosophical as Kring’s hunk of junk gets), Heroes wants to keep frustration levels at a minimum. To be fair, that isn’t just because the producers know their program appeals to people who hate to think – they’ve watched Lost’s trajectory and understand that it’s easy to lose the luster of being the hot new show in a blink of an eye. It’s good business sense to keep things as simple as possible on Heroes.
But that’s where the show failed in its finale. Well, it’s one of many places. Lost’s finale had more action, excitement and tension in its first twenty minutes than Heroes’ last three episodes had in their entirety. The final battle between Peter Petrelli and Sylar, which has been building for months, was a complete letdown that ended up being a quick fist fight in the street. It’s mystifying that the show didn’t spend more money on those climactic moments (let’s just forget how badly written and directed the finale was – that’s a given with Heroes. Compare how Heroes looks with how Lost looks, just from a cinematography point of view); Heroes is one of NBC’s big hits, and you would think that a couple of extra bucks would be freed up for the big finish. Hell, we’ve seen how other shows deal with limited budgets – shows like Battlestar Galactica set up episodes that can be filmed on the cheap, allowing them to splurge on terrific sequences like the Galactica’s atmospheric drop and rescue in the opening arc of the third season. Instead we get a couple of punches and Hiro dropping into an ancient Japan populated by a handful of people. (PS, they’re ripping off the end of Evil Dead II there)
Still, budgets are a reality. One of my favorite TV shows of all time, Buffy the Vampire Slayer, would run headfirst into the budget wall all the time (although almost every season finale of Buffy was more spectacular than the finale of Heroes, and that show was on third rate networks) – you just hope that the writing and acting can make up for the cheesy snake monster or whatever failed effect is highlighted that week. But Heroes, being one of the most consistently poorly written and directed shows on network TV, doesn’t even have that going for it. The finale sucked from a production value point of view, but it also sucked when looked at as a climax of any sort. Most of the characters we’ve been following all year end up together… for no good reason. Rather than having most of these people actually play roles in the finale, Kring and company have them stand around uselessly. By the time the final minutes of the show happen, Kring and his writers have had all the characters do whatever little bits they had to do – kill Linderman, help Horned Rim Glasses Man find a floor in a building (easily the lamest role a ‘hero’ has ever played in an epic), etc – but because of the show’s incredibly poor pacing we’re left with a paradox: all of these events took too long to happen, and occurred only after the show spent hours and hours spinning its wheels, but at the same time they all happened too early. So while it seems like the show slapped about three episodes of filler in there at the end, it still ends up feeling like the non-Peter and Sylar stories blow their loads too early. Instead of having a massive climax where all these stories wrap up in a short time span, we get trickles of wrap up and then a final fight where most of the characters – including at least one character IN the fight – are utterly useless.
That’s to be expected, though. I am not giving in to hyperbole when I say that Heroes is one of the worst written shows I have watched (just look at the episode before, when Hiro learns to be a swordsman in an afternoon and yet doesn’t bother popping into the other room to tell his friend that he’ll be working for a couple of hours, thus giving the writers a cheap excuse to send that friend into some half-assed danger), so having the finale be not just filled with badly conceived narrative but also bad dialogue (see the entire exchange between Shaft and Peter Petrelli) is no surprise. What’s most annoying is how the Heroes finale sums up the show’s contempt for its audience, and how it’s completely different from how Damon Lindelof and Carlton Cuse approach Lost’s viewers.
The anti-climax of Heroes comes not just from the cheap and boring final confrontation, but from the fact that the events of the last minutes – the ‘How to Stop An Exploding Man’ of the episode title – are so transparently obvious to anyone who has watched the show. Heroes has spent most of the season building to this ending, and when the writers got there they chose the single most predictable way to pull it off (despite the thing being full of plot holes. For instance, if Cheerleader shot Peter in the head, he would die but get better as soon as they pulled the bullet out, so that seems like a good way to stop him from blowing up). I think they did this for the simple fact that it makes the fat-headed fans of Heroes feel smart – ‘I called that ending!’ Of course you did… so did anyone who watched any previous episodes and had a concept of basic storytelling clichés.
Meanwhile Lost went the absolute opposite direction, delivering a finale that was a complete mindfuck, an ending that no one could have guessed six weeks ago. That’s because the producers know that the fans of Lost – intelligent, literate people, mostly – love the sense of excitement that comes from having expectations challenged, not met. The crowd that loves Heroes is the same crowd Robert Zemeckis cuts his trailers for – the people who want to know exactly what they’re getting when they walk into a theater, the people who choose McDonalds over local food when traveling for that same reason. These people are the lowest common denominator, and Heroes shovels its shit into their happily gaping maws on a weekly basis.
There are other ways in which the Lost finale spanked Heroes – for one thing Lost has characters that feel three dimensional, who have contradictions and hidden depths, quite the opposite of Heroes’ cheap carboard cut-outs (the character who got closest to having anything resembling depth was Nathan Petrelli, and he got blown up… although I’m sure he’ll get better next year), and these characters evolve and change in interesting – and not predictable (hello, Peter Petrelli and Hiro Nakamura arcs of gaining confidence) – ways. Lost has a more exciting and intriguing concept and set up as opposed to Heroes’ Comic Books’ Greatest Hits stories. But when the dust settles at the end of this week, the truth is that the biggest difference is how the two shows treat their fans. I’d rather have Lindelof and Cuse think of me as so smart that they can throw in tiny hints and also little bits of disinformation to keep me guessing over Kring thinking his fans are too stupid to be able to deal with actual shock or excitement.
Source: CHUD
Tim Kring’s Heroes has often been seen as an answer to Lost – where ABC’s show is all about the mysteries and teasing things out for as long as possible, NBC’s superhero spectacular is unwilling to leave its viewers in the lurch for more than a couple of episodes. It’s part of the show’s basic modus operandi: where Lost has faith in your intelligence and stamina, Heroes knows that its audience isn’t that bright. Never mind Lost’s ambitious literary and philosophical references (‘You’ve always been a hero!’ is about as philosophical as Kring’s hunk of junk gets), Heroes wants to keep frustration levels at a minimum. To be fair, that isn’t just because the producers know their program appeals to people who hate to think – they’ve watched Lost’s trajectory and understand that it’s easy to lose the luster of being the hot new show in a blink of an eye. It’s good business sense to keep things as simple as possible on Heroes.
But that’s where the show failed in its finale. Well, it’s one of many places. Lost’s finale had more action, excitement and tension in its first twenty minutes than Heroes’ last three episodes had in their entirety. The final battle between Peter Petrelli and Sylar, which has been building for months, was a complete letdown that ended up being a quick fist fight in the street. It’s mystifying that the show didn’t spend more money on those climactic moments (let’s just forget how badly written and directed the finale was – that’s a given with Heroes. Compare how Heroes looks with how Lost looks, just from a cinematography point of view); Heroes is one of NBC’s big hits, and you would think that a couple of extra bucks would be freed up for the big finish. Hell, we’ve seen how other shows deal with limited budgets – shows like Battlestar Galactica set up episodes that can be filmed on the cheap, allowing them to splurge on terrific sequences like the Galactica’s atmospheric drop and rescue in the opening arc of the third season. Instead we get a couple of punches and Hiro dropping into an ancient Japan populated by a handful of people. (PS, they’re ripping off the end of Evil Dead II there)
Still, budgets are a reality. One of my favorite TV shows of all time, Buffy the Vampire Slayer, would run headfirst into the budget wall all the time (although almost every season finale of Buffy was more spectacular than the finale of Heroes, and that show was on third rate networks) – you just hope that the writing and acting can make up for the cheesy snake monster or whatever failed effect is highlighted that week. But Heroes, being one of the most consistently poorly written and directed shows on network TV, doesn’t even have that going for it. The finale sucked from a production value point of view, but it also sucked when looked at as a climax of any sort. Most of the characters we’ve been following all year end up together… for no good reason. Rather than having most of these people actually play roles in the finale, Kring and company have them stand around uselessly. By the time the final minutes of the show happen, Kring and his writers have had all the characters do whatever little bits they had to do – kill Linderman, help Horned Rim Glasses Man find a floor in a building (easily the lamest role a ‘hero’ has ever played in an epic), etc – but because of the show’s incredibly poor pacing we’re left with a paradox: all of these events took too long to happen, and occurred only after the show spent hours and hours spinning its wheels, but at the same time they all happened too early. So while it seems like the show slapped about three episodes of filler in there at the end, it still ends up feeling like the non-Peter and Sylar stories blow their loads too early. Instead of having a massive climax where all these stories wrap up in a short time span, we get trickles of wrap up and then a final fight where most of the characters – including at least one character IN the fight – are utterly useless.
That’s to be expected, though. I am not giving in to hyperbole when I say that Heroes is one of the worst written shows I have watched (just look at the episode before, when Hiro learns to be a swordsman in an afternoon and yet doesn’t bother popping into the other room to tell his friend that he’ll be working for a couple of hours, thus giving the writers a cheap excuse to send that friend into some half-assed danger), so having the finale be not just filled with badly conceived narrative but also bad dialogue (see the entire exchange between Shaft and Peter Petrelli) is no surprise. What’s most annoying is how the Heroes finale sums up the show’s contempt for its audience, and how it’s completely different from how Damon Lindelof and Carlton Cuse approach Lost’s viewers.
The anti-climax of Heroes comes not just from the cheap and boring final confrontation, but from the fact that the events of the last minutes – the ‘How to Stop An Exploding Man’ of the episode title – are so transparently obvious to anyone who has watched the show. Heroes has spent most of the season building to this ending, and when the writers got there they chose the single most predictable way to pull it off (despite the thing being full of plot holes. For instance, if Cheerleader shot Peter in the head, he would die but get better as soon as they pulled the bullet out, so that seems like a good way to stop him from blowing up). I think they did this for the simple fact that it makes the fat-headed fans of Heroes feel smart – ‘I called that ending!’ Of course you did… so did anyone who watched any previous episodes and had a concept of basic storytelling clichés.
Meanwhile Lost went the absolute opposite direction, delivering a finale that was a complete mindfuck, an ending that no one could have guessed six weeks ago. That’s because the producers know that the fans of Lost – intelligent, literate people, mostly – love the sense of excitement that comes from having expectations challenged, not met. The crowd that loves Heroes is the same crowd Robert Zemeckis cuts his trailers for – the people who want to know exactly what they’re getting when they walk into a theater, the people who choose McDonalds over local food when traveling for that same reason. These people are the lowest common denominator, and Heroes shovels its shit into their happily gaping maws on a weekly basis.
There are other ways in which the Lost finale spanked Heroes – for one thing Lost has characters that feel three dimensional, who have contradictions and hidden depths, quite the opposite of Heroes’ cheap carboard cut-outs (the character who got closest to having anything resembling depth was Nathan Petrelli, and he got blown up… although I’m sure he’ll get better next year), and these characters evolve and change in interesting – and not predictable (hello, Peter Petrelli and Hiro Nakamura arcs of gaining confidence) – ways. Lost has a more exciting and intriguing concept and set up as opposed to Heroes’ Comic Books’ Greatest Hits stories. But when the dust settles at the end of this week, the truth is that the biggest difference is how the two shows treat their fans. I’d rather have Lindelof and Cuse think of me as so smart that they can throw in tiny hints and also little bits of disinformation to keep me guessing over Kring thinking his fans are too stupid to be able to deal with actual shock or excitement.
Source: CHUD
Si sono un attimino arrabbiati
When LOST’s Season Three finale twist was revealed weeks in advance, the vast internet fan community for ABC’s hit show was divided between those who thought such information was an entitlement, and those who felt it shouldn’t exist at all. As LOST Season Four looms on the horizon, the backlash from the production end of things has finally reared its head. How did the producers react to the leak, and what plans do they have to keep LOST Season Four under wraps?
Lost producers Damon Lindelof and Carlton Cuse popped up individually this week at E!Online and TvGuide.com respectively to address the awful incident of spoiling, which took place weeks prior to the airing of LOST’s finale.
Lindelof described his philosophy on the leak to E!’s Kristin Veatch “…no one skips to the end of life. You have to live it, and it's just disappointing to me that people don't respect the integrity of the show enough to let it unfold naturally.”
Lindelof, the co-creator of LOST, went on to say this about how LOST Season Four information will be disseminated “Well, with regard to [LOST] season four, Carlton and I are going into complete and utter radio silence. I know a lot of people are going to be frustrated, but I think if things had gone a little differently in terms of the finale getting spoiled, we might have been a little more open to talking about it.” His later comments, though, were self mocking and indicated that the reason for the silence is more to suspend the audience in this state of vertigo over where the show was going, and not about getting revenge against those that spoiled the finale’s big surprise.
Over at the Ausiello Report on TvGuide.com, however, Carlton Cuse, the co-show runner, indicated that while the producers may be limiting themselves to well tempered displays of disappointment, the brass at Disney are the path of Vengeance. When Ausiello asked Cuse whether they knew who spread the info or not, Cuse replied “Disney security is trying to establish a full and complete list of all of the people through whose hands the show passed, We did everything we felt we could do.”
What could this mean for the fan community leading up to LOST Season Four? If Disney has a heightened sense of the damage to the property, it could conceivably set up a DMCA hit squad to take down sites that have a tendency to be too loose with LOST Season Four spoilers. In reality, ABC and other networks tolerate a lot of unauthorized use of copyrighted materials such as videos, logos, and pictures. Exercising their rights as copyright holders, Disney could make spoiler sites pay aesthetically for crossing the line, and in some cases, the removal of copyrighted material could conceivably cause a site to shut down. Unauthorized set photographs, the essence of many spoilers for instance, can sometimes be considered copyright violations.
Overall, even with a lightened tone, it appears that LOST Season Four will present a more tight lipped creative team and, likely, a more locked down production than previous seasons.
Source: BuddyTV
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