The gave us a “resolution” to the characters ignoring the fact that they sucked us in with the Island.  Dharma.  Jacob.  The hatch.  Hanso.  The DeGroots. The intertwining lives.  The numbers.  Hurley at the institution with Libby.  Walt being special.  The Egyptian stuff.  The statue. The constant.  The pregnancy thing. The others.  The purge.  The pylons.  The “files” on the castaways.

And they f*$%ed us.  They broke our contract – we watched and pieced it together, they were supposed to reveal what happened. And they didn’t. They didn’t just leave one or two things up to us, they just flat out abandoned the mysteries altogether. I’d say more, but I can’t do it better than Eugenia already did.  I urge you to read this piece on why LOST worked, and this piece on why Lost sucked first. Ultimately, for me, Lost was the best ride ever that had no real payoff.

If you were a fan of the show because it was enthralling, as I was, you’ll love the finale. It had action, romance, drama, comedy, and a generally happy ending. If you were a fan for the mystery and mythology, as I also was, you will be very disappointed as virtually every core mystery was completely abandoned.

Emotionally, I was completely satiated. I was rooting for Sawyer and Juliet to find each other, I was so happy for Claire and Charlie, I thought Jin and Sun played their awakening scene perfectly, Hurley and Libby shared an awakening kiss, and we’d already had our Desmond/Penny reunion. All that was missing was Daniel and Charlotte pairing off. I wish we had seen a happy ending for poor ol’ Miles, but I guess he had his dad.

Intellectually, I was a little stumped. First, by the solution: um… what? So the entire alternate timeline was post-death, or just the church scene? They joined the alternate timeline when they died in the real timeline? Wait… was the real timeline even real at all? I don’t know.

Mythologically, I was downright pissed. Is it okay for the writers to give us 121 hours of programming spurred on by completely mind-bending mystery and then completely and totally abandon virtually every one of those storylines with no explanation?

The central mystery of the show was “What is the island?” It was the center so much so that the pilot ended by dropping its first titlecard after Charlie’s now infamous “Guys… where are we?” That was not only not answered, it was flat out made more complicated in the finale.  In protecting “the source,” we saw Desmond and Jack descend into the light.  First off, going in certainly did not mean a fate “worse than death”; second, it seemed the bottom of the well was man-made! WHA…? There’s another entire story at the bottom of the light source.

Let’s not forget about all the little nagging ones… How does Hurley see dead people? How can Miles talk to them? What is the smoke? Who built the frozen wheel? How does the island “move” when the wheel is turned?  How did Jacob make Richard ageless? What was up with Hanso and the DeGroots? What was the Hanso connection with the Black Rock captain and the blast door map? The questions are limitless, and they go largely unanswered.

So, today, I’m not sure how I feel about the entire thing.  On one hand, I feel betrayed for having invested so much time in the mysteries to be completely ignored.  On the other, though, it was the best 121 hours of TV I’ve ever watched.  Even the less-exciting episodes were still the highlight of the TV week.  I doubt I’ll ever have as much fun with a TV show as I have on the journey of LOST.

Last year,  we got some very interesting, if fairly uneven, matchups.  When we investigated battles like Viking vs Samurai, Pirate vs Knight, and Spartan vs Ninja, we learned about how the advent of steel affected strength and effectiveness of weaponry.   When we watched Shaolin Monk vs Māori Warrior, we got not only to learn about warriors that were a little lesser known, but also got to see some brutal weaponry.

The Season 2 premiere pitted SWAT against the German counter-terrorism group GSG9. Unfortunately, this episode was a letdown for me. The problem is not the show or the hosts, but rather, the premise. How can you suggest that one warrior is better than the other based on weapons, when clearly, the same weapons are available to both?

Case in point: the GSG9 carried the H&K G36 mid-range weapon and noted its carbon fiber body made it light. They also noted the pump action Remington 870 was a pump acton gun used for its reliability, even in extreme cold. Both of those were strategic decisions. But the show gave the edge to SWAT both times, first for the fraction-of-a-second speed difference and higher caliber bullet (entirely discounting the additional kickback) and second for the few-seconds speed difference, ignoring the reliability.   If the GSG9 felt the other guns were better guns, they’d have simply used the same guns as SWAT.  So the DW gang ignored all of the worthwhile comparison in favor of examining the weapons under very specific circumstances.  The GSG9 may very likely have prevailed, and completely so, given some of the extreme circumstances for which they were prepared where SWAT might have been simply stranded.

Also, as far as I could tell, the GSG9′s training was never factored in. SWAT is an awesome infantry, and I’m sure many of them are very skilled. But the missions the GSG9 face in Germany would never be relegated to SWAT in the US, it would probably be an FBI special task force or even something more like military special forces.   Boiling these two forces down to just their weapon choices was a massive over-distillation of the facts: it didn’t test the deadliest warrior at all, it just tested the weapons.  I feel the the DW gang just plain old got this one wrong.

But usually, I’m pretty satisfied.  Sure, the “edge” awarded is totally unscientific (e.g. “this one is 1/8″ closer, so this weapon has the edge”), but the number of simulations and the tests themselves are generally enthralling enough and the attack methods and damage done is so interesting, it’s easy to overlook the gaps in the process.  Anyone who really studies a show like Mythbusters is going to be able to spot 100 issues with the conclusions too, so I’m apt to give DW a pass at some of the smaller leaps.  The outcome is less important than the tests anyway, and the tests are almost always great on high speed.

The less modern, non-team comparisons are much more fun. There is really is about the ingenuity of the weapons and the fighting tactics. Knights, for example, had to contend with the weight of their armor but carried heavy swords. Compare that, say, to ninjas who had no armor but a dramatically different set of weapons and training.   Pirates we know had scary-deadly weapons, but they were by-and-large notoriously unreliable. That type of comparison makes for a much more interesting head-to-head.

Fortunately, this season’s match ups are much more historical in nature and less modern-day-warrior toe-to-toe.  I’m especially looking forward to Vlad The Impaler vs. Sun Tzu and Persian Immortal vs. Celt. These matches will pit warriors who had the benefits of centuries of weapon advancement, but not modern technology or mass availability. I’m really looking forward to seeing how things pan out. If you get a chance, Deadliest Warrior is on Spike and SpikeHD on Tuesdays.

[1] Max Geiger and Geoff Desmoulin are the hosts, and both are down-to-earth and fan-responsive on Twitter.

Update: Show host @geoffdesmoulin tweets: “Just read it! Its solid BUT ive 2 disagree w/ U. Look up the World SWAT Challenge & U’ll C GSG-9 only won once vs US SWAT!!” and points us to his follow up blog entry here: http://bit.ly/aw90XG

We heard Jacob tell Hurley that a friend was trying to find the Island.  And who found the Island? Widmore.

The natural question to ask is: is Widmore really a good guy, or is Jacob really a bad guy?

Damon said, “Here’s the story with numbers. The Hanso Foundation that started the Dharma Initiative hired this guy Valenzetti to basically work on this equation to determine what was the probability of the world ending in the wake of the Cuban Missile Crisis. Valenzetti basically deduced that it was 100 percent within the next 27 years, so the Hanso Foundation started the Dharma Initiative in an effort to try to change the variables in the equation so that mankind wouldn’t wipe it itself out.” This information, in more convoluted form, was leaked out via the online games rather than explained on the show itself, says Damon, because, “That would be the worst thing ever. We have to make the show for the hardcore fans who care about the numbers, but we also have to make it for my mom, who just wants Sawyer to take his shirt off.”

Here are some things I feel I can predict in the storyline of Lost, and some things that are standing out.

1. I think the “Incident,” we all can guess, has to do with the bomb called Jughead.  I suspect it has some sort of detonation or radiation leak.
2. I think that Pierre Chang will instruct his wife and child to leave the island because he knows that the Incident is coming, possibly because Daniel tells him so.  I think it would even cooler if Miles told Chang to clear them out, for obvious reasons.  Then Miles would have spent his whole life hating his father for doing what he would eventually tell him to do.
3. I think it’s possible that Miles’ mother’s cancer is directory related to Jughead and the Incident.
4. I  use to think that the Swan’s layers of concrete were to encase Jughead.  Sayid said the only time he’d seen that much concrete was at Chernobyl.  But the construction of the Swan in 1977 reveals that the bomb has found another home for at least 20-something years.  Now I think that again, because I think there’s a trick here: the “Hostiles” were the ones who had the bomb in the 50′s.  Perhaps Horace and Chang know the bomb is out there and intend to steal it and encase it at the Swan, evacuating the radiation every 108 minutes.  I’m still foggy on this, but obviously, whatever the Swan’s original purpose is must be explained shortly.
5. I am a little disappointed at how underwhelming the Dharma Initiative is turning out to be.  They were initially described as a team of elite scientists.  Instead, we’re treated to a slew of janitors, cooks, blue collar workers.  Is it possible that only Dr. Chang and Horace know what the heck is going on? Even the Dharma people themselves are unaware? That makes the DI no better than any old cult, which is a letdown.  They were doing high level experiments.  Who is conducting all the research? If the hatches aren’t all constructed yet, when will those experiments begin, because we all know that the Purge is coming, and it has to be before that.
6. It seems unreasonable and irresponsible for the Dharma Initiative to brand everything.  That seems like a colossal waste of both time and money.  And why jumpsuits? Who is going to see them? Why not just t-shirts?
7. We had better see a connection with the DeGroots and Alvar Hanso or I will be one pissed off dude.
8. I think we will see the following things and events explained, and in the following order: the Hatch, the Incident, the Purge, the Statue, the Dharma Initiative, Jacob, the Island.  The numbers have been revealed to be the Valenzetti Equasion variables.  We will never  get an answer to some minor things, but I suspect all major plot points will be explained.  Included in eventual reveals, I predict: Annie, Ellie == Eloise?, Adam and Eve, the smoke monster, the blast door map, Alvar and Magnus Hanso, and where the eff Bernard and Rose have been.  I think it’s possible they may never explain why Walt is “special,” but I bet we learn why Desmond is.
9. I believe in artistic license.  So unlike some friends of mine (wink wink, E) I don’t mind minor mess ups that don’t really affect the greater plot.  There are some weird Rousseau things: in one season, she said the others were nothing but whispers, but certainly, she saw and spoke to Ben.  Okay, so they hadn’t fleshed it all out in season 1.  But I suspect they know where they are going with the big reveals.

Just a few thoughts.  If you’ve got some, feel free to chime in.

Holy cow! So Charlotte’s age has been a big mystery, since she was born in 1979, but clearly, Faraday saw her in 1974.  You know how big of a deal this is!?

It’s not! Holy shit, people, has it come to this? This is a big deal?  This is the first continuity mistake of note on Lost (yes, there are some other very minor ones that I generally attribute to poetic license, like traveling distances over the island in short periods).  That said, it’s just not a big deal.  It doesn’t ruin the plot, it doesn’t change any of the mystery, it’s just a simple mistake that really isn’t that big of a deal.  So Charlotte is a little older than we thought.  Or she got her own birth year wrong.  Whatever.

Can we get to talking about the important things, like where is Faraday in 1977? Where are Bernard and Rose? Why didn’t Sun go back to 1977? Why can’t Widmore come back to the island? And… ahem… four toed statue?!

I think Locke is dead.  He died back in LA, and his body was transported back to the island.  Due to the “unique electromagnetic properties” of the island, his consciousness is able to manifest as “real” on the island, but make no mistake: he’s dead, and can never leave.

…And so is Penny.  Ben killed her before he took the O6 back, as he promised Widmore he would.  How else will Desmond ever be coaxed to return to the island? Why, the promise of resurrecting Penny, of course!  Mrs. Hawking told him the island wasn’t done with him, he was just too short-sighted to see why.

The above does pose a few questions: 

Firstly, who else is dead? Surely, if we can spot some of the dead, other people are also dead.

A few other dead people have appeared on or around the island: Hurley’s friend Dave, Yemi, Ana Lucia, Libby, Horace, etc – all appeared after their “death.”  Were they actually there in consciousness? Or was that just the the smoke monster playing tricks, as many have theorized?  

Heroes has, for some time now, sucked.  Long ago, the writers decided to give up on character consistency, and they decided that they would have the characters stop on a dime and act completely contrary to their previous actions.  Case in point: Nathan, who quickly turned on his fellow mutants and now wants Peter dead, apparently.  I can’t even get into Heroes other than to say it’s such a mess it really should be canceled altogether.

Kyle XY is a show I started watching when I was a sick a few years ago, and I kept on for the mystery.  The problem is: the writers revealed too much too soon, and when the basic mysteries were solved, the second season introduced a worthless character, Jesse XX, as a plot device.  Then the plot become bigger as they introduced “Adam Baylin”, and explained a backstory to Zzyzx.  When that concluded, we learned that Madacorp was behind it all.  When that was done, we learned that it was actually “Latnok” was behind it all.  In other words, the lazy writers just keep making up more complex backstory as they go.  I hate to be a broken record, but compare this to LOST, where a clear vision in the first place prevented sloppy cut-and-go storytelling that leaves everyone confused. The good news is, this show was canceled, so hopefully they can conclude it nicely and wrap everything up cleanly.

Grey’s Anatomy, an interesting show in season 1, has gotten worse with age.  Each season has been less intriguing and more annoying.  Every single character sounds like Shonda Rhymes now, they all have the same affectational pitter-patter sing-song intonation.  I hate Izzie, who was once interesting.  I hate George, who has become an extra.  I hate Bailey, who vascillates between a professional and over-attached.  I hate Meredith, who is whiny.  I hate Cristina, who is a cold bitch.  I hate Callie, who whines and made the fastest jump to Lesbianism ever.  I hate the Chief, who is a total pushover.  Actually, I like little Grey, Shephard, and Sloan, and I’m learning to like Dr Arizona, but mostly because she’s kinda hot.   Either way, this show jumped the shark long ago, and I wish they’d put it to sleep.

Prison Break has introduced more plot twists than any show ever in history, but once you get used to it, it’s kinda fun.  However, it’s carried on for 4 seasons now, far longer than the concept of a “prison break” should have permitted.  I am glad they pulled the plug on this, not because it’s not fun, but because some premises simply can’t sustain forever.

On a lighter note, I originally had called “Fringe” a disappointment, but I must say, I’m feeling good about it lately.  It’s interesting, the characters are getting to be consistent and interesting, and the overall storyline is shaping up like the X Files: small mystery solved each week, large mystery gets more complex.  I hope this show gets even more time to bloom.

One of my favorite South Park clips.

Heroes is a brilliant concept executed as poorly as possible.  It’s of of the worst written, poorest plot-bearing, illest planned, silliest scripted series ever to grace Sci Fi.  Everything about Heroes stinks except the actors and the core concept.  The rest blows.  Let’s examine:

1. Firstly, we’ve got a science problem  

The science of Heroes is always screwy.  Some might argue that there must be a certain suspension of disbelief with science fiction, and I’d agree.  We suspend disbelief about the fact that there, for example, is space travel in Star Trek, but we expect the writers to follow the known laws of physics in space.  We expect the ship to be sound.  And we expect that when the rules are bent, there’s a reasonable and semi-believable explanation.   With Heroes, we have a day long eclipse that occurs everywhere at once.  We have someone who can run REALLY fast who can apparently bring anyone with her at the same speed.  If you can fly, you can apparently lift anything through flight.  

2. Second, we’ve got a motivation problem

A “volume,” which runs about half a season, takes 13-16 weeks to unfold.  But it occurs in much less time for the characters.  And yet, they go through major emotional changes in a short span.  Just look at Sylar.  He went from villian to man seearching for redemption to soon-to-be loving father to angry to ruthless villian in the span of this story.   Why would he change so quickly? His actions make no sense.  Going from “No, Sylar, I *am* your mother” to ‘I’m working for Dad’ to ‘I’m going to kill Angela’ was too rocky and didn’t give the character time to understand his own actions or emotions.   Let’s not even get started on Mohinder, who makes no sense at all, or Angela, or worst of all, Arthur, who could have avoided this entire series by simply making Nathan not investigate Linderman in the first place, which means no need for Angela to kill him, which means no revenge, which means no Pinehurst, which means no Nathan vs. Peter.  Which leads me to…

3. We’ve got a logic problem

Aside from things like “Why is Sylar changing his motivations so quickly?” there are much bigger logic flaws, like for example, ”Why does Clair hate her father one minute but then love him the next ALL SEASON LONG?” Sorry, but this is central to the show.  The Bennetts – Clair and Noah- are core characters.  So making their emotions so whimsy is not just a character motivation problem, but rather a major logic flaw.  These characters are inconsistent.  Is Clair a cheerleader, a kid, or a company warrior? How can someone work for this elite “Company” with no real training other than smacking a stick around for a few minutes? Why does Clair – and Noah – think  that regeneration abilities makes someone a natural for fighting this huge “war”? 

4. We’ve got plot problems

What was the point of the eclipse? Why did they make a big deal about the catalyst if it was resolved so readily? Where would the catalyst gone had Hiro not shown up to take it?  Why did Parkman have to have the spirit walk? What about HIro? These things were required for nothing other than killing time.  There was barely anything happening this arc.  When you introduce information and plot points that have no real value to the story, it’s your first clue that your writers are in over their heads.  Suckage. 

5. Lastly, we’ve got a concept problem

This concept is so brilliant, the idea of following “specials” around.  But the implementation is flawed, because you’ve decided to commit to your cast.  This concept would have been awesome if, as we followed each volume, we moved to new, interesting characters.  A built in reboot every half season.  But unfortunately, now this show is like any other serialized drama, and I don’t trust it.  I don’t believe Sylar is dead.   I don’t believe Arthur is dead.  I didn’t believe Hiro was stuck in the past, I don’t believe we’ve seen the last of Hiro’s dad.  I don’t know if I believe Meredith is dead.  Elle might be dead, but she was always peripheral.   So nothing is believable, and I’m not ready to be burned again.  

Yeah, I’ll end up watching volume 4, but not because it’s a good show.  Because no one can turn away from a good train wreck.

Steve: Lame, But He Knows It, Thus, Cool

Lately, due mostly to Noggin’s schedule change, she’s been watching a lot of Blue’s Clues.  At first, I hated this show.  It’s about as dumbed down as a show can get, at first glance.  But lately, I’ve been realizing something: I’ve picked up a lot of sign language in passing glances. 

Blue’s Clues is not that interesting.  As a show, it’s really basic, and not very interesting.  Unlike, say, Sponegbob Squarepants, where after 40 seconds, if the kid walks away, I watch the rest, Blue’s Clues is completely boring.  I’ll happily shut it off.  And yet, when she is watching, I love that she’s getting the sign.  

I have to admit that I like Steve much better than Joe.  Steve  was natural with sign language.  And he seemed genuine, if possible.  He was a normal dude, just chillin’ with his animated dog Blue, who apparently, would only communicate via elaborate clues to a master puzzle.  The whole thing was very normal, in an “I have an animated blue dog who leaves me clues to answer simple questions which I figure out whilst signing and then track in a notepad for future reference” kind of way.  

Steve was also a very routine oriented guy.  Same shirt, every day: none of this new-fangled several colors nonsense.  Also, he didn’t grin all the time like a complete tool. 

Joe: Thinks He's Cool, Is Actually D-Bag

But Joe sucks.  Joe is always giving a stupid, goofy grin that deserves a slap.   Unlike Steve, who seemed generally laid back did a great job of hosting a kid’s show, Joe was a trying-too-hard pretty-boy who spent his time hosting Blue’s Clues living in Steve’s big shadow.  Aside from having a much more polished and “I wanna be an actor” finish, he was so effortful in his performance that it came off as both condescending and tiring.  His silly oversmiling and unnatural “side running” is so odd looking it leaves me wanting to take Steve out for a beer, just for not sucking so much.  

I think Joe is an actor thrilled to have a gig, trying so hard to be good at it, and yet, coming off as so desperate it makes me roll my eyes.  Every emotion is so overplayed I’m sure my 14 month old must mutter “What a sodding twit” under her breath. 

Either way, Blue’s Clues, despite being entirely blowsome as a TV show, is pretty decent as an education tool, largely due to the amount of ASL mushed into the show.  If your kid has to watch something, you could do a lot worse than Blue’s Clues, which is likely why a show that ran from the mid nineties through 2005 or so is still aired several times a day.

What is it? It is the moment I’ve been waiting for.  The moment when House realizes his inane behavior is getting unrealistic and unbearable.  The House character is getting boring to me because he shows no growth whatsoever, never learns any lessons.  He’s just a miserable old sack. And the show was losing steam, until last night, because it’s become so formulaic that Cracked magazine took a well-deserved swing at it.  

So, I’m hoping that last night, as the SWAT team blew away the walls of the CAT scan room and House, for a moment, was unsure whether or not his plan had backfired; as House began to understand that his silly actions may have led to Thirteen’s unnecessary death; as House suddenly understood (I think) that he had behaved like an idiot, that maybe we have the catalyst for the first real growth of the character.  I wish – I wish so much – that perhaps the character would show some emotional reaction to the fact that he endangered not just others’ lives, but others’ lives quite recklessly.  

House shouldn’t suddenly become a softie, and he shouldn’t suddenly be a new character, but the same way you drive a little slower for awhile after you think you might be getting a ticket when you pass a cop, he ought to have a little bit of extra thought about his actions, a pause before acting like the cold moron he normally is.  Because any human would, after an event like that.     

Unfortunately, I don’t expect it.  I think next Tuesday will open credits on the same old House.  Too bad.

Firstly, Peter, Sylar, and Parkman’s dad, at a minimum are all extremely powerful, yet none of them really “use” their powers, even when it would make sense.  Sylar, for example, didn’t hear something whispered just 20 yards from him, yet it was explained in season 1 that he had super-hearing. Hiro makes the dumbest mistakes in the world, and doesn’t use his power to fix them (like going back in time to just not open the safe, or better yet, putting a fake version in his hand before Daphne swiped it.)

The entire story arc often feels like a bunch of ninth graders writing a “wouldn’t it be cool if” story, without really laying out the entire storyline.  Peter is impetuous and rarely thinks before acting – not in a realistic way, but in an “it’s a good plot device” kind of way.  Nathan’s family just… evaporated.  Hiro digs up Adam Monroe rather than just zapping him out of the coffin, which, by the way, is how he got him in there.

The truth is, the massive cast, which includes useless Mohinder, pointless Maya,  and  wants-to-be-interesting-but-just-isn’t Parkman needs to be trimmed down.  And why ignore cool characters like The Haitian? The last truly great episode was “Company Man” in season 1.

Although I’ll still watch it for now, Heroes is just, sadly, not that good of a serialized drama.

Last week’s pilot episode set up a great premise.  The “translucent” body effect and the mystical “Pattern,” complemented by stone cold Matthew Abadon Agent Broyles left me wanting more.  I suspect the second episode was much more indicative, however, of what this show will actually be.   Read more after the break.

Unfortunately, last night left me a little let down.  The plot was mostly interesting (Caution! Spoilers ahead): a series of murdered women leads us back to Dr Bishop’s ex-colleague’s experiments regarding rapid aging, and the only way to slow the rapid aging, we learn, appears to be pulling the pituitary gland from the brain of these women – apparently while they are awake and tranquilized, for some unknown reason, rather than simply anesthetized - and… doing something with it.  

It was the surrounding elements that left me unhappy.  First of all, the eccentricity of Bishop is overkill.  The way he speaks was overplayed, and Joshua Jackson, while believable as the boy genius, had lots of poor dialogue, such as “Can you just speak like… a person?”  Secondly, Bishop’s experience with… uh… everything seems stretched.  I was willing to suspend disbelief that many of these things are possible, but to suggest that he was able to do all of these things, in just the second episode, seems pushing it.   Thus far, he can interview the dead, he can grow a human and accelerate aging, and he can project thoughts on a monitor by pulling the electric impluses from a dead ocular nerve – I’m not making this up.   It’s just too far fetched.   

As far as the characters go, I like Anna Torv‘s Olivia Dunham.  But she’s no Dana Sculley, and I don’t know if she can carry the show.  As of now, she and Broyles are the only two main characters, as Joshua Jackson’s younger Bishop is merely “the babysitter” for his convict father, and his father is only available as long as he’s part of the picture.  While we all know they are part of the team, it’s yet to be firmly established that the characters are committed to investigating “The Pattern.”  

The problem here is that this show is poised to fill the same type role as “The X-Files,” but thus far, they have lacked when establishing character authority and credibility.  Franky, I’d rather follow Broyles and the “Massive Dynamic” secretary, as they both seem much more immersed in the mythology than our main characters.  

I’m inclined to stick with Fringe because I like the set-up, not because the second episode was so good.  I think many shows need some time to find their niche and this one may strengthen once the actors get used to their characters, give them some identity, and let them play out and evolve.  I fear that, like X-Files, much of “The Pattern” will never be properly explained and that we will be doomed to years of frustration and unanswered questions, rather than an arching story like Lost, where we expect to have much of the backstory revealed to us.  I suspect that four years from now, we’ll still understand very little about The Pattern except maybe a larger tie to the founder of Massive Dynamics.

So, for now, I will continue to watch, I’ll probably give it a season to hook me.