ABC

 
By Nick Gorini
 
They say good things come to those who wait. I don’t know who “They” are, and I’ve learned that occasionally, patience isn’t always a virtue.
 
But waiting almost always gives you one thing: perspective.
 
It was never my intent to document my immediate, visceral reaction to the ending of ‘Lost’. Going into Sunday night, I knew whatever my initial feelings may be (“That was PERFECT!” or “How could they have done this to ME?”), I needed time to reflect on the ending in the context of the entire Lost experience.
 
I mean, that’s what it has become for those of us who love this show, right? It was more than TV – it was a journey, a ride that for one hour a week put us somewhere else. Not just on the screen, but in our own noggins’. And if you believe in some of Lost’s theories, it may have been our collective consciousness-noggins, otherwise known as “col-coggins”.
 
Maybe at the end of our lives, we will all meet at some alternate bus depot in the sky (don’t call it Purgatory!) that we created out of our own desire, the desire to figure out every remaining Lost mystery. So, so many…
 
We can spend our oddly-houred days kissing strangers or beating the crap out of them with no repercussions. Heck, in some cases, they may even THANK us, even after running them over with our car. Then we can meet in a balmy, tropical Catholic Church with non-denominational stained glass (we wouldn’t want to exclude any of our viewers), hug it out one last time, and realize that the mysteries aren’t what mattered in the end.
 
What mattered is that we all experienced Lost, for better or worse, with joy or frustration, together.
 
Before I digress into any specifics of the finale, I want to say something that is all too obvious, but needs to be heard, so bear with me:
 
Network television is dying.
 
We all know it. The viewers know it, the advertisers know it, the executives know it, the cable companies and satellite/Direct TV entities know it, the writers and actors know it, too.
 
It may take a few years before the last rites are read, but network television is like Lost’s Michael, wandering around a magical wonderland, unable to move on because of it’s past indiscretions, haunting us with cheap reality shows, tabloid news and crappy copies of "Lost."
 
"Lost" snuck under the radar. It remains one of the most expensive shows ever produced. Cinematic in quality, epic in scope, complicated in plot, and deep, deeper than most anything found in popular culture today.
 
Apparently, we hate that kind of stuff. That’s why we get endless seasons of Dateline NBC, C.S.I., Two and a Half Men, The Biggest Loser. Dumbed down and cheap. You want intelligent? You want challenging? Watch AMC, HBO or Showtime. Read a book.
 
Network television, still free. For a limited time. And it gave us Lost. How did J.J. Abrams ever convince, coerce or blackmail ABC into putting this show on the air? Is Abrams the modern day Robert Johnson, selling his soul at the crossroads so the devil may gift him with unworldly talents? Or was it that mysterious elixir of talent, luck, timing and connections that got this gift off the ground?
 
If J.J. Abrams was a character on Lost, he’d be asking himself if it was his destiny to bring Lost to the masses, something he was always fated to do, or if it was hard work and sheer determination that put him into that position.
 
Whatever the case may be, Lost is like network television’s supernova, a final, bright hot burst of energy and beauty before the final, slow sputtering of a dead star.
 
Blah, Blah, Blah. What did you think of the finale?
 
The finale was overwhelmingly satisfying on an emotional level. But like Icarus, I think Lost may have flown too close to the Sun.
 
(Yes, just one paragraph ago, I called Lost a sun, more or less. But it’s the internet, and I can mix my metaphors. Writing on the internet is like the Frat Party Jungle Juice. It could be good, but there’s about 18 different flavors in it, and no one’s really sure what all’s in there. Just drink it.)
 
Before I explain what didn’t work for me, let state for the record, that Lost is still my favorite show of all time. Well, okay, top five of all time, for sure. It’s given me so much, and will continue to do so for many, many years.
 
In an effort to mend this dichotomy, and to heal my lost, broken heart, I have suddenly split off into two equally annoying bloggers (me, and me). Each will give his thoughts.
 
The Original Timeline Blogger
 
Oh gee whiz! What’s not to like? Some of my favorite moments:
 
· Naturally, all the enlightenment moments were incredible, especially Juliet/Sawyer’s, and Jin/Sun’s. What these couples went through to get… What? They’re dead? Oh man, that breaks my heart even more. Makes those scenes even more poignant.

· The Island as a real place. A daring move. And keep Locke/Smokey as a villain all the way to the end. No mystical spiritual wake-up call. Just a bad man needin’ some killin’.

The father, the son and the holy hottie

In the end there were no fireworks. No yelling and screaming. No fingers in the chest nor recitations of missed ballgames, withering slights, alcoholic screw-ups or Oedipal murderousness. The surface anger melted and all that remained - in the sheer white light outside the Unitarian church - was a father and son sobbing happily in one another's arms.

Their friends sat in the pews, unbloodied and unbowed. And, finally, together.

The island, with its heroes, villains, monsters and constant life-threatening struggles, was less a literal place than a stage for a greater emotional battle: a thrill-ride version of psychotherapy:, where the patient is made to confront, engage and then move beyond the obsessions and weaknesses that have defined his/her life. 

Everyone's answer is different. For Jack it was accepting surrender; for Hurley it regaining self-confidence; for Miles it had something to do with discovering his faith in duct tape.

What matters is that what once were lost are now found. And what was "Lost" is now a memory. A long series of memories, actually, packed with action and adventure and dark humor, but also yearning and heartbreak and frustration and all the stuff of human exerpience. But no matter the blood and bombs and bad-ass thugs and monsters and on and on, the source of all that white light  came from within the characters themselves.

The mythology, as cool and confusing as it could be, was exactly like the cool, confusing mythology we all weave for ourselves: A Hollywood-style animation of the internal drama flickering behind all of our eyes.

Are you ready to move on? That's always the question. And for most of us, pretty much most of the time, the answer is emphatic: Helll, no. Thus psychotherapy, if you're a secular urban mod with health care and/or expendable cash. College kids can take philosophy classes, and engage in dorm room bickerfests about reality. Everyone else gets religion, or worst case, primetime tv. And just in case you wanted to wrap it all up in one tidy package, these last six years have also given us "Lost."

You said Jack. Heh-heh.

By NICK GORINI

Howdy, gang. For my readers out there (all four of you) who were wondering why I didn’t post any thoughts about last week’s polarizing Beavis and Butthead back-story, let me tell you something:
 
After reading about twenty articles, twice as many blogs, and endless other forms of barely digestible media, I sat down at my computer, started to type, and realized, I HAD NOTHING TO ADD TO THE DISCUSSION.
 
So many people had vociferous opinions, diatribes, and post-traumatic stress-posts…. Look, either you hated it, or you really hated it! HA HA ha…. I keed, I keed. Seriously, though, while the episode left me a little underwhelmed, I don’t think it deserved even half of the hate mail volleyed in its direction.
 
I understand some of the criticism: The writing was a little stale, the mythology seemed too little in comparison to the big picture, and Jacob and his bro seemed to be a little on the immature side. But, it had great acting, it deepened the moral dilemmas without offering cheap resolutions, and the Lucky Charms Leprechaun never danced out of the glowing golden cave.
 
And, after watching this week’s fireside chat with Jacob, I’m going to go out on a limb and say that many of you most vocal critics might have secretly (no one ever admits they’re wrong anymore – ever! Have you noticed?) felt a little sheepish.
 
Nevertheless, this week, it was good to be back on track with the crew in whom we have invested so much emotion. For what it’s worth, if I had been Carlton and Damon, I would’ve just aired the Jacob/Smokey episode much earlier in the season. It’s just a little too late for us to get invested in that stuff.
 
ONWARD AND UPWARD, OR OFFWARDS AND DOWNWARDS
 
Despite Jack’s mystery shaving wounds, things are going his way. His kid’s hanging out at home, his newly-discovered sister and impending messiah/nephew have moved in, hey! Oceanic found dad’s coffin! All part of a healthy breakfast.
 
Only, it’s that sunny trickster Desmond, up to his tricky-tricky-trickies. But when he’s not making prank calls, Desmond’s also busy beating up teachers in parking lots. He smacks Ben around, telling him he was trying to get Locke to “let go”, but we know Desmond is beating the almighty island timeline into Mr. Linus, who it turns out, likes this sorta thing. Thank you sir, may I have another!
 
Ben shares the good news (you know – guess what! That dude that rammed his car into you slapped me with the ugly stick! I like him! He seems like a nice fellow!).
 
I tell ya, people with English, Irish or Scottish accents get away with bloody murder here. As an American, I thought the reverse would be true, too. Come to find out, when Americans travel abroad, we’re told we “sound funny.”
 
Anyway, we quickly move to the jail, where Desmond surrenders to Miles and Sawyer, who I bet will have their own mid-season, sci-fi cop show premiering on ABC sometime in March.

Get some back-end points on the new Miles & Sawyer series, and follow the jump. . .

The shoot-em-dead, brain-bell jangler/The one you never seen before. . .

There's this badass in your neighborhood named Stagger Lee. He does all manner of wicked shit. Rolls dice. Talks trash. Steals your woman. Slits your throat. But on the other hand he has a really cool hat and slick clothes and does whatever the hell he wants to, virtually all of the time, and so you can't help digging him. Dude plays by his own rules, yo, and no cop or uptight civic hero is going to mess with his party.

It's a black thing -- an African-American thing, I mean -- the by-product of centuries of slavery, institutionalized racism, and more. Centuries of scary badasses, from Stagger Lee to Mick Jagger to NWA to Jack Abramoff to Ticketmaster and on and on. They are the living animation of our own worst instincts and straight-up evil actions. Bombs bursting in air, stolen civilizations, burning villages, crazy-eyed parents, the foreclosing of any pure-hearted person's free will.

The story of civilization, and now the undergirding of "Lost."

Which is why Jacob created the Smoke Monster, whose (not entirely ill-placed) anger begat centuries of evil, which begat Jacob's need for Richard, who created Ben, whose flaws begat Jacob's need for Jack, whose righteousness infuriated Ben so much he has been pushed to the threshold of becomingm yes, that's right, the new Man in Black.

follow the jump and go easy on your cloak and dagger

Mom always liked the Marx Brothers best, actually....

Another hour closer to The End (but please, please, please, ABC, can we NOT set the whole 2.5-hour climax to the dull-witted college-boy philosopher drone of Jim Morrison?) and now comes an episode-long peek back in time takes us to the birth of Jacob and his mysteriously unnamed dark-eyed twin, and then to the glowing (literally!) headwaters of some of the most crucial riddles at "Lost"'s heart: Is there a connection between the golden light of faith and the piercing Klieg light of science? How will the show be able to explain the distinction between the two, and the bond that links them? 

More questions: Are Jacob and his twin brother merely fancier versions of Goofus and Gallant? Why are the show's good guys just as capable of lying/murdering/pillaging as its antagonists? How will they ever bring the most intellecutally, philosophically and sc-fily sprawling series in the history of American tv dramas to a satisfying conclusion?

Forget about that last one. Already this morning the blogosphere -- including the level-headed James Poniewozik at Time, who is always my go-to guy for day-after recaps -- is bristling with crankiness over the episode titled "Across The Sea," musing on the line between too much information and how-the-hell-could-they-NOT-resolve. . . . 

JP raises excellent questions, as ever. Still,  I just can't kvetch about "Lost" with a lot of conviction, no matter what happens in the next two weeks.

And, by the way, I also thought "Across the Sea" did a fairly miraculous job of explaining a lot of the series' most complicated moral, philosophical and sci-fi-intific assertions. Let's take them one-by-one...

...but after the jump.

“Oh Hurley; you’re such a Dahl, but Desmond’s a Peach”

By Nick Gorini
 
Wasn’t this week great? Just like old times, it reminded me of a typical episode from the first two seasons. A little death, a little love, a little action, a little science fiction, a little religion, and a few key ‘WTF’ moments (Listed with thoughts below). And to top it off, the promo for next week’s episode took the great Gene Wilder/Willy Wonka creepfest boat song and turned it into Black Flag B-Side (see here). Awesome.
 
Here are just a few of the “Wowza” moments this week:

Just when I got to liking Ilana, she blows up, Doc-Arzt style. That was quick and unceremonious, especially for all the work she had done. Will we ever know why she was in such rough condition when Jacob visited in the hospital? MAN, I hope they blow up Zoe next.

Hurley finds Ilana’s copy of Dostoevsky’s Notes from the Underground, chalk full of existential angst. Man, I feel bad for Ilana. Training for Jacob her whole life, carrying around Russian Downer-Lit for light reading, and then getting Blowed Up Real Good! For more good Blowed Up, see here.

Know what else Hurley found in Ilana’s tent? Jacob’s ashes! Hey, have I asked this yet? What the hell is the ash all about?

Hurley blowing up the Black Rock! Yeah!! Honestly, I was getting sick of dynamite. It’s time to move past firecrackers and guns. We’re playing a game for souls here.

So, we know that in order for people to reconnect with their island selves, they need to experience chaos, whether it be the good kind of chaos (intense love and passion) or the bad (extreme pain, physical emergency).

Oh my man, Desmond! You were great in every scene this week! And you and Smokey at the well? Best interplay of characters yet. “Why aren’t you afraid?” Smokey can’t figure it out, can he. He tried to get Desmond focused on the petty little mysteries of the island, but Desmond’s stuck in his little love shack.

The Whispers! The whispers are the souls that cannot move on spiritually, the souls still so consumed with guilt and self-loathing. Poor, poor Michael. This raises a few questions:

So the show creators say the island isn’t Purgatory, but souls being stuck on an island between Heaven and Hell? Sounds kinda like Purgatory to me.

During the first few seasons, the voices always appeared right before Smokey showed up, or right before the Others came trudging along the trail. Are these ghosts forces for good, or bad?

Does Smokey know about these ghosts?

Souls stuck on the island. Guess what? Isabella’s ghost appeared to Hurley, and so does…. JACOB!! Does this make Jacob a lost soul?! Hmmm…

And on that note, why is Alpert so, so bloodthirsty now? To be honest, I think it’s a plot device: the writers wanted to create tension and conflict for Hurley, and they needed a reason to split off a few characters (Miles, Ben and Alpert) who will show up again in a few episodes, ostensibly to save the day at a moment when all hope seems lost. Rang just a hair hollow for me.

Smokey whittling away at his stick while Sawyer fumes was an important scene, for a few key reasons. Much like all the characters, they run around, leading busy but meaningless lives. Working at something, doing some sort of activity, until that moment of clarity comes. It was almost as if Smokey was taunting Sawyer.

Desmond getting thrown down the well! Wow! The instant I saw the well, I knew Desmond would be back in The Hatch. A great scene, anyway.

Biggest. Shocker. Of the night: Sideways Desmond turning wheelchair-bound Locke into a hood ornament. I always feel terrible for Desmond (he’s been put through so much), but Holy Cow! Can Locke’s spirit take any more of a beating? So why did Desmond do this? There really are only three possibilities to consider:

1.  He knows Smokey takes over Locke’s body and that the only way to prevent Smokey from destroying everything is to kill Sideways Locke.

2. He knows that the only way to re-awaken Jack is to have him meet his polar opposite, Locke. And that most of our characters need to converge in one spot.

3.  He knows that Locke can be re-awakened in his possessed body, but that it takes some sort of cataclysmic event to re-adjoin Locke’s soul. Time will tell.

Wowzas, predictions and more follow this here jump....
 

Emotional eating, and proud of it, yo.

A very short analysis this time out, and late besides, due in part to ravenous wire-chewing squirrels (no, really, they totally cut off the Internet last night, the bastards) and the usual time/work constraints. Poor, poor, pitiful me, etc.

Ah, but "Lost." Everybody Loves Hugo, which means a journey into the alternate life, and ever-deepening psyche of one Hugo 'Hurley' Reyes, whose happy-go-extremely-lucky alt-version in L.A. still has a bit of the spook in him, particularly when Libby shows up.

He's puzzled at first, but intrigued, and then when she leans in for a smooch it all comes back. As Dr. Nick put it last week: Love is all you need.

But there's a real yin-yang thing taking place between the alt-characters and their island-bound counterparts. For Hurley the consummation of his Libby fantasy seems to elevate his growing confidence a notch or three. He's completely comfortable wielding power over Jack, for instance. And Jack is comfortable being wielded....though that look he gives not-Locke when they finally come face-to-face implies another set of feelings: the ones telling him that ultimately it's all going to boil down to him going mano-a-mano with Smoke Boy, and whoever wins goes home with all the marbles.

Other notions:

1. That awkward bit of exposition Michael provided about the whispers (they're the souls locked in island purgatory) worked on a narrative level, but still felt like a bit of a punt to me. I'd imagined they were, at least, the voices of time travelers, of the spirits who were simply visiting that time/place/realm but not really OF the t/p/r. That's what I thought, anyway. And what does the purgatory answer imply about where the rest of the story is headed? 

2. Not-Locke tossing Desmond into the well, and alt-Desmond running his sleek sedan right over an unsuspecting alt-Locke were obviously mirror actions, which I'd guess have something to do with the perp's desire to drag their victim closer to the yin of their yang (or vice versa), and give them the flash of insight/connection experienced by Charlie when he was choking to death, drowning to death or otherwise having some edge-of-existence revelation. The coming attractions flashes were extremely intent on making sure we knew they weren't dead, at any rate.

3. You know what this season lacks so far? The unexpected, yet absolutely perfect use of some obscure rock/pop oldie none of us have even thought of in decades. C'mon, dudes.

4. Here's a prediction, stemming in part from my bitching about the whispers revelation: Gird yourself for some serious Hate about the "Lost" finale, no matter where it goes. Particularly if it goes the way I want to, with an emphasis on the dream-reality-as-deeper-truth aspects of the series. Just a prediction.

No man is an island, even when he’s stuck on one

Jack, Sayid, Hurley and Sawyer, with friend

By Nick Gorini

 
Well – here it is. This week was the official beginning of the end. The biggest puzzle piece remaining now locked into place. Thus begins the mad tumble to the show finale, questions answered, issues resolved, lives lost, souls saved, and most important, solving the biggest mystery nagging us all: What happened to that damn dog Vincent?
 
I could go in-depth and recap this week’s episode, but I think “Happily Ever After” spoke for itself. Other than adding a couple of new questions, it used another deck-shuffling Desmond episode to lay down the law.
 
Let’s quickly state what we know/don’t know as of today:
 
What we know:
 
Love Matters. It certainly matters more than magnets, more than anything. It is love that redeemed Desmond. It is love that opens Desmond’s heart and this week, his mind. It’s clear that each character’s capacity for love, in its many guises (for your spouse/partner, for your friend, for your children, for your humanity, for yourself, even for your enemies) will determine the fate of this universe we’re experiencing.
 
Whatever Jacob may be, and he is most certainly not God-like, his power is in his capacity to love. Is Smokey the personification of evil? Not by a long shot, but what he represents is the inability to love. This might be something Smokey was born with, but I doubt it (and we will find out in a few weeks when he get his backstory).
 
As I think back on the Alpert episode, ‘Ab Aeterno’, I understand why Jacob couldn’t grant Richard his first two wishes (to bring Isabella back, and for absolution). Both wishes were only something Alpert could resolve (notice I do not say ‘grant’). Sometimes, love is holding onto something no matter what may come to pass. But sometimes, love is also about letting go. Jacob couldn’t give Alpert Isabella, because she really is gone, and Alpert needs to love her enough to let go. And Jacob couldn’t grant Alpert absolution, because true absolution comes from within. Absolution is an incredible, powerful act of love. However, Jacob can give Alpert all the time he needs to sort this stuff out, right?
 
Maybe that’s how the island is serving our heroes: It’s the therapist’s couch, with no time-limit.
 
With Desmond, he experiences the essence of love – love has no boundaries. We can forget about Jacob/Smoky and Faraday physics – these are the Lost McGuffins (McGuffins are plot devices that to keep our eyes glued to the screen. Think of McGuffins as the candy coating on a chewable aspirin). Love transcends time, space, squabbles between two petty island-bound brothers, even mortality. Thanks to Charlie’s not-so-gentle nudging, Desmond’s pursuit of love will cause two worlds to collide. The end result? Well…
 
For much of the show’s run, we were lead to believe this show was about survival (even Sawyer said so). But it’s about the survival of love.
 

Mmmmmm, electro-doughnuts....

Still a step or two off pace due to my flash-sideways into the fluish world, so I'll cede most of the turf to the far-superior ministrations of my colleague Dr. Nick, pausing only to offer a few random-ish observations on what I think will be turning point in the entire arc of "Lost." And a damned fine hour of TV, to boot...

Observation 1: An entire hour of network TV drama played without the vast majority (any?) of the original characters, in a reality that only may or may not be real, but in which life seemed more or less normal until one mysterious old woman, (Eloise) made cryptic reference to a whole other reality that until that moment in the episode no one else had even mentioned beyond the most implicit crinkle of the forehead, or briefly-puzzled expression, or psychotic-seeming rant about glimpses of.....something. Yes, this was the strangest hour in the history of American network TV. And God bless ABC for putting it up there.

Observation 2: Also God bless "Lost" for not just respecting it characters, but also having such obvious, and overwhelming affection for them. It's a terrific mythology, to be sure. The weave of quantum physics, philosophy, religion and bone-crunching action is simply miraculous. But it would all be immediately forgettable if it weren't for the deep sense of character the show has; its remarkably nimble, and yet deeply felt, character studies, and its perpetual emphasis on the visceral -- and entirely universal -- conflicts that animate, and often devastate, virtually all of its characters. Except Keamy.

Observation 3: Felt sorta nice to hear "You All Everybody" again, didn't it? Driveshaft did sorta rock, back in the day...

Observation 4: Worst acting in the history of "Lost"? The actress who plays Penny (name tk) trying to look natural running the stairs in the stadium. Body too rigid. Arms so tight against her sides she looked like Barbie Track Star, or something. I usually love that actress, and of course the writing of the scene (echoing Desmond's original off-island appearance in the stadium with Jack) was right on. But when I watched her runnning what I saw was a British woman whose regimen leans closer to ciggies and tea than sprints and fartleks. I'm just sayin'.

Look at the package on that guy...

By Nick Gorini

Hello there. Many apologies for not posting last week in regards to the epic ‘Ab Aeterno’, which according to internet chatter, has already become one of the most beloved Lost episodes all time.
 
I did have my reasons for not posting: Spring Break, travel, willfully ignoring things like television, email, phones, and the like. But I must confess: I’m still trying to figure out the Alpert episode! I’ve watched it twice, and I fear I may be over-analyzing myself into a perplexed, Doc Jensen-like Rubicon.
 
So much has been written about the damn thing, that in order to just fill-up that gaping hole in my heart, I will just post a few vexing thoughts about it before I move on to talking about Kwon’s Package…
 
In regards to ‘Ab Aeterno’:

1.   As we expected, it is tragedy that drove Alpert to the island. It’s what has driven all of our major characters. But the man who purchased Alpert as a ship’s slave was working for a man named Hanso. The Hanso family eventually went on to create the Dharma Initiative. Does this mean that the Hanso’s have always been knowledgeable about the island and it’s powers? Was Alpert purchased specifically for that intent?

2.   Alpert’s back-story? Powerful, tragic, and engrossing. I’m also intrigued and trying to understand why he wasn’t offered absolution from the priest in prison. Penance takes time, he was told, and he didn’t have that. Was this an example of a cruel priest perhaps symbolizing the cruelty of the power players on the island? Was it that Alpert didn’t seem so sincere in his guilt, much like Eko was? Or did the priest know where Alpert was ultimately headed? I don’t know…

3.   Some people think Alpert was talking to his wife’s ghost, while others think even the sincere moments were held with Smokey as an apparition. Why did she wait until Alpert called out to Smokey to show up? When the scene cut to Smokey in the distance, why did he look unsurprised at the moment? I don’t know…

4.   Richard the prisoner was really into Luke 4:1-27. But what is the purpose? Alpert wasn’t on a 40-day fast in the desert, and he doesn’t seem to have a demon inside him needing to be cast out. So, folks, why is this passage important?

5.   Smokey? Exactly as I expected him to be. Jacob? That threw me for a loop. Seeing him beat the living daylights out of Alpert shocked me – this isn’t the way we’ve been watching him behave before (or since, if we’re talking linearly timeline on the show). And the fact that it’s ALPERT’S suggestion to become consigliore instead of the other way around? Also odd. This Jacob doubts. This Jacob uses physical force. This Jacob doesn’t seem to operate with the bigger picture in mind. And this Jacob gloats. All of these things… I’m still trying to figure out what it means.

6.   And on that note: “Bring back my wife!” Can’t do that. “Give me absolution!” Can’t do that, either. “Give me immortality!” Oh! Yeah, I can do THAT! Folks, what does this mean? I don’t know…

7.   [Imagined scene from the writer’s room]: Well crap, we still gotta explain the damn slave ship and that freaking four-toed statue! HEY! I know – let’s just crash ‘em into each other! Yeah! HA HA! It’s like we’re telling the audience to stop asking about this stupid crap and focus on the characters, or something!

8.   Lastly, I give myself the delayed Stupid Award from last week, because I didn’t post anything, and because I still can’t figure this freakin’ episode out…
 
ENOUGH! Onto The Package…just hit the jump....