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The Dead Zone: The Hunt (2003) – James Head

This episode could have been absolutely awful and all I have to do is give you the barest blurb for you to understand why. This episode: Johnny uses his visions to try to find Osama Bin Laden. I’m totally serious. What’s surprising about this episode is how solid it actually turns out to be. As the episode begins, we discover that Johnny has been swept away by a secret unit of American government agents; they’re building a small cadre of psychics that they intend to use as part of the hunt to find Bin Laden. The episode cleverly ties this back to The Man Who Never Was; this group of government agents forming the psychic task force are aware of Johnny because of his run-in with the government back in that episode. He’s now listed as a psychic who seems to have some legitimate abilities in a government database, thanks to the way he tracked down the missing man in that previous episode. The episode is low-key; Johnny’s taken to an underground bunker, where he meets a handful of other psychics; as physical evidence from Al-Qaeda operatives is captured by the military, that evidence gets shunted down to Johnny’s bunker, where he touches the items to see what develops. Probably the most clever thing about this episode is the way it dances lightly around the issues that could have made the episode seem exploitative. Of special note is the fact that neither Bin Laden nor Al-Qaeda are mentioned by name in the episode. At one point, early in the episode, Johnny asks his military handler for clarification on who the target is. “You know who it is,” the handler snaps. And he’s right; we all do. It’s a very clever episode and, as we know going in, the episode has to end with Johnny’s failure and the ultimate disbanding of this psychic unit. But the episode still mines some great tension from some sequences, like one pulse-pounding set piece where Johnny has to use his visions to guide a group of soldiers out of a terrorist trap in real time, using radio communications to tell them where the tripwires and ambush points are in time for them to dodge them. It’s an interesting episode and, as this second season has tracked Johnny becoming more and more famous, it’s kind of episode that they had to do, particularly after Johnny very explicitly tangled with CIA agents in The Man Who Never Was. That the show pulled it off without the episode either seeming exploitative or pointless is quite surprising and impressive.

The Dead Zone: The Mountain (2003) – Mike Rohl

In this episode, Johnny has gotten invited along on a camping trip with Walt, Sarah & JJ, Walt & Sarah trying their best to allow Johnny to be part of his son’s life. The awkwardness must have been epic. I mean, my God. But luckily, Johnny gets a vision of a private plane crashing up the mountain and the personal issues get set aside as the four of them head up the mountain to try to locate the crash in case there are any survivors. But then three other people show up searching for the crash site; these people have guns; these people are after a suitcase containing two million dollars that was on the plane; these people were not able to be in Stallone’s Cliffhanger and they’re pissed about that. This is a pretty standard issue episode; it goes about the way you’d expect. Johnny keeps getting visions at each turn of the road; Walt’s trying to figure a way out, but Johnny keeps seeing things ending with him and his friends getting iced, no matter what they do. It’s more than a little reminiscent of The Siege, the bank hostage episode from Season One. The show wrings some nice thrills and spills out of it and the irony of Johnny having to foil Walt’s escape attempts before they can even happen, since he can see that Walt will just get everyone killed, is good for some wry humor. Nothing really wrong with this one, but nothing really great about it either.

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SA 3319

*So, here we are, ready to close out the Second Age, or nearly anyway.

*The Akallabeth is the fourth section of The Silmarillion. At around thirty pages, it is longer than the Ainulindale and the Valaquenta, but far shorter than the Quenta Silmarillion, of course. It carries a subtitle that explains what it is: The Downfall of Numenor.

*And the Akallabeth starts with a recap of the events of the Second Age up to the Downfall. It is finally explained, as it wasn’t for quite a while reading the works on this timeline in order, exactly about the Edain and the gift of Numenor and the fact that it, along with the extended lifespan, was a reward for the Edain fighting on the side of the Valar against Morgoth.

*So, the Eldar that want to leave Middle Earth are allowed to live on the Isle of Eressea, close to Valinor. And for the Edain, the following Astonishing Prose Alert: “A land was made for the Edain to dwell in, neither part of Middle-earth nor of Valinor, for it was sundered from either by a wide sea; yet it was nearer to Valinor. It was raised by Osse out of the depths of the Great Water, and it was established by Aule and enriched by Yavanna; and the Eldar brought thither flowers and fountains out of Tol Eressea. That land the Valar called Andor, the Land of Gift; and the Star of Earendil shone bright in the West as a token that all was made ready, and as a guide over the sea; and Men marveled to see that silver flame in the paths of the Sun.”

*So, in another Biblical call-back, the Edain leave Middle Earth and follow a star to the promised land.

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Detective Comics, #42 (August, 1940)

*This story can be found in The Batman Chronicles, Vol. 2

*So, Bruce Wayne is attending a fancy party thrown by Mr. Wylie in honor of a European painter named Antal.

*So, I found this interesting because something recurs here that we haven’t seen since pretty early in the series. Early on in the series, Commissioner Gordon made a couple of comments about Bruce Wayne and his reputation as being a lazy good-for-nothing. That kind of got dropped then.

*But as Wayne enters here, he remarks to another guest that art generally bores him and then two guests share the following dialogue: “Everything bores that fellow! If he ever got excited about anything I think they’d declare a national holiday!” “They say he is probably the laziest, most useless chap in our set!”

*I found that interesting in light, particularly, of how much a part this characterization of Wayne is of Nolan’s films with Bale. In some versions of the character, one senses that Bruce is respected as an upstanding citizen or a canny businessman. Bale and Nolan play the character as carefully cultivating disrespect, as purposely crafting a reputation as an irresponsible, shallow playboy. And this seems to be the same kind of characterization here. That last line in particularly is pretty harsh; even among the wealthy, it seems, Wayne is considered callow and shallow.

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10/1/1993 – 10/6/1993

I was merely extending her a professional courtesy.

Oh, is that what you were extending?

*So, once again, this episode is available in the First Season set.

*Well, this is, not counting the placement of two episodes from the fifth season at the beginning of the timeline, our largest departure so far from the order in which the episodes aired. After Shadows, the sixth episode aired, we jump to Fire, actually the eleventh episode aired, skipping a whopping five episodes, which we’ll come back to later.

*The timeline notes that it takes place on these days, the first through the sixth of October because of two details, namely a fax received by Scully dated 10/4 and the fact that the first day must be a weekday as Mulder and Scully have just spent the entire day in court.

*You will probably recall from my Shadows review that I differ just slightly from the timeline I’m using in my placement of this episode; I agree with the dates, I simply hold that the entirety of this episode actually takes place during Shadows, not after it.

*So, by my reckoning, after about a week of investigation in Philly, as shown in Shadows, M&S had to return to Washington in order to appear in court and, while there, they meet Phoebe Green in the parking garage and Mulder, being, as he seems to be in this ep, incredibly horny, shelves the Philly investigation long enough to spend the work week helping out Phoebe in hopes of getting a little action.

*If I may, just at the outset, let me once again reiterate how much I hate the first season titles. Fire? No kidding. GREAT title.

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Star Wars: Crosscurrent

5,000 BBY

*So, far and away the bulk of this new novel takes place 41 years after Yavin and follows Jaden Korr. But there are four sections of the novel that flash back to the Great Hyperspace War and so we’ll talk about those four sections now.

*There is a section labeled The Past in chapters 1 – 4 and also chapter 8.

*The first section is in Chapter One and actually opens the book. We are introduced to Saes, a former Jedi now working for Naga Sadow. His ship, Harbinger, and another ship that we’ll talk about quite a bit later, Omen, are picking up some Lignan crystals or something for Sadow to use in his war against the New Republic.

*I’m just glad they weren’t Adegan Crystals. I got my fill of those in the Nomi Sunrider audio drama.

*So, Saes’ old master, Relin, and Relin’s new Padawan, Drev, are en route to try to smash up Saes’ plan to get the Lignan Crystals to Sadow in time for his invasion of Kirrek.

*Drev is an Askajian. And Kemp can’t stop talking about how fat he is. I don’t know what an Askajian is, but I find this whole lingering on his morbid obesity a little strange.

*Seriously, like every time Drev walks into a room, Kemp is like, “That’s no moon . . .”

*So, Memit Nadill, Odan-Urr and Sadow all get name checked, but none of them appear.

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Buy Rabbit-Proof Fence

My mum told me about how the white people came to our country. They made a storehouse here at Jigalong – brought clothes and other things – flour, tobacco, tea. Gave them to us on ration day. We came there, made a camp nearby. They were building a long fence.

Rabbit-Proof Fence opens with an ancient voice speaking in an ancient language. It’s the voice of the aged Molly Craig, removed from the events of the story we will see unfold by more than sixty years. In the story, the fourteen year old Molly, along with her eight year old sister, Daisy and her eleven year old cousin, Gracie, are removed from the care of their mothers and placed in a school dedicated to assimilating the half caste children into white society. As Kenneth Branagh as A.O. Neville, Guardian Protector of the Aboriginal People, lays out in a slide show, the highest goal of his professional life is the slow eradication of the aboriginal people, not by execution or violence, but by the slow work of breeding. By the third generation, he says, using a pointer stick to move from grandmother to mother to son, the aboriginal blood can be subsumed to the degree that there is almost no sign in the physical appearance of the person. The white man’s goal is a simple one: assimilation.

This is a perspective and philosophy that most enlightened people today see as something morally reprehensible and as Noyce focuses on the three children taken from their mothers, it’s easy to see that he understands that as well. But in the nuanced script and the nuanced performance by Kenneth Branagh, we see Neville as a man who believes he is doing the right thing, a man who, in his own way, cares deeply for the aboriginal people and simply believes he has found the best way to help them. “If only they could understand what we’re trying to do for them,” he says late in the film and Branagh has the decency and empathy to play the line completely straight; you can feel nothing for Neville at that point but profound sympathy.

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Buy R.E. Lee

A young mother brought her baby to him to be blessed. He took the infant in his arms and looked at it and then at her and slowly said, “Teach him he must deny himself.”

The book, Freeman writes in his introduction, was originally conceived as a very simple, if rather lengthy, single volume. But once research began, something in the life of the great Lee caught fire in Freeman’s soul and the result, thanks to a publishing company with more nerve and heart than brains, is an epic four volume journey through the life of a man who has achieved something of the status of myth.

This book was written early in the arc of Lee’s mythic journey, not even a full seventy-five years after the death of the great man. And Freeman takes us through his life with a true artist’s touch. The story is sympathetic yet clear eyed. Lee is not a mystery, not a dark hero, Freeman avouches again and again. He was what he seemed to be: a Christian gentleman. His faith was unfeigned, his manners unforced. If a temper occasionally showed itself, it is to be excused. Most of Lee’s faults, Freeman shows us, were only virtues taken too far.

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Buy Q: Are We Not Men? A: We Are Devo!

Jonee jumped in his Datsun
Drove out on the expressway
Went head on into a semi
His guitar is all that’s left now

Devo is often credited with inventing a lot of things, ranging from synth-pop to electronica to the satirical live show. Like most credits of this kind, these credits have truth in them, but are also oversimplicifactions. Devo certainly popularized the use of electronics and studio noodling and synthesizers in rock music and, in doing so, unleashed a double edged sword that has given us some of the best music ever and also a lot of the worst. Most eighties music would not exist without Devo. On the other hand, most eighties music would not exist without Devo. You get what I’m saying.

This album, their debut, harked back to their early demo recordings, much to the chagrin of producer Brian Eno, who had signed on after seeing them live. Eno famously called the band ‘anal,’ disliking their tendency toward perfection. And Brian Eno saying that about someone else really knocks one out, doesn’t it? And while Devo’s rep would continue to cast them in the iconoclastic weirdo category, this album is surprisingly traditional.

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The Dead Zone: Playing God (2003) – Michael Vejar

The big hook to this episode is that it features Ally Sheedy, who of course starred with Anthony Michael Hall in The Breakfast Club back when they were both quite a bit younger, in a substantial guest part as an old high school friend of Johnny. It’s worth it all to hear a middle-aged Hall talk about being a “skinny little nerd” in high-school and how Sheedy’s character was too much of a “head banger” for him. The “ain’t that cool?” quotient gets upped even further by a brief cameo by John Kapelos, also of the Breakfast Club. But the real performance is by Lochlyn Munro as the hell-raising, fast-living brother of Sheedy’s character. The essential dilemma of this episode is that Johnny’s visions seem to indicate the death of first one of the siblings and then the other. As he tries to intervene and tweak the circumstances to save them, he finds that it seems impossible to save them both. Is Johnny going to have to choose which of his friends will live and which will die? Even worse, is he going to have to play an active part in the death of one of them? This is a fantastic episode. It leaps instantly to the head of my list. It’s a gut-wrenching meditation on the heavy burden Johnny bears. The moral dilemma, the hard choice at the center of the episode, is a classic: who is more worth saving, an amoral, irresponsible jerk or a kind, good and generous person? In the end, how do we rank the value of a life? Hall’s performance is anguished and, toward the conclusion of the episode, when he realizes the action he has to undertake, he reaches something like the best performance he’s yet given on the show. The conclusion is a painful one and we’re made to understand the cost of any life, but it’s also a hopeful one as we understand the natural rhythm of the universe and the ways in which death is not the end for a life. It’s a moving testament to just how good episodic television can be.

The Dead Zone: Zion (2003) – Michael Robison

To this point, Bruce, Johnny’s physical therapist and friend, has been my least favorite of the recurring characters. He doesn’t have the emotional depth of the other recurring characters and is often given little to do besides be a sidekick/comic relief. His role is less well-defined than any of the other main roles. Well, I should caveat that I still prefer him to Dana Bright, the annoying, sexually voracious reporter who seems to have crawled out of some much worse show and into this one, but Bruce isn’t a character I have much affinity for. In this episode, Johnny accompanies Bruce back home to a small Southern town in order to attend the funeral of Bruce’s father, who has been the pastor of a small evangelical church there. The episode’s premise is a very weird one; after the funeral, Bruce and Johnny are left alone at the casket for a moment and when Bruce touches his father’s body at the same time as Johnny touches him, Bruce ends up getting transported into a weird vision/alternate reality. In this alternate reality, Bruce never left home, never became estranged from his father and is, hilariously, a preacher in his father’s church. As Bruce tries to adjust to this new world, he’s given the chance to make peace with his father in a way he was never able to actually do. There are some fine dramatic scenes between Bruce and his father, who is ably played by Lou Gossett Jr. who manages to create a character who is simultaneously too hard on his son and yet filled with love for him. Late in the episode, alternate universe Bruce tracks down alternate universe Johnny and Hall appears as a very different Johhny, twitchy, hard-edged, violent. The show seems to be making the point that it was Bruce’s destiny, or his calling, to speak in the spiritual language of this episode, to be Johnny’s friend and that without Bruce’s friendship Johnny would have spiraled down into a sociopathic mess. I suppose that’s a fair point and, in some sense, I appreciate the show’s effort to get way outside the box on this one and to give some depth to a character that hasn’t had a whole lot. But even Bruce is at a loss when trying to explain to Johnny what happened, once everyone’s back in the real universe; it was like Bruce was inside one of Johnny’s visions, albeit a vision that Johnny wasn’t even actually having himself. I beg your pardon? Seriously? Experimentation is fine, but let’s not just completely break the rules of the show. This is not a good direction for Johnny’s visions to go, if you ask me. I hope this was a one off. It was a fairly entertaining episode, but I’m philosophically opposed to the foundational premise of it. At least Lou Gossett is a lot of fun.

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SA 1800 – 2251?

*This story, or rather this incredibly brief beginning to what appears to be an epic story, is found in the fourth section of The Peoples of Middle-Earth, the twelfth and final volume in Christopher Tolkien’s epic History of Middle Earth series. We will be returning to this volume toward the end of the Fourth Age to read the other unfinished tale contained in it, The New Shadow.

*But for now, if you’ve read The Peoples of Middle Earth, do comment on the bulk of the book and what you thought about it.

*This story begins with a one page introduction, runs for thirteen pages and then closes with a page or so of notes. It is, quite obviously, only the very beginning of a story that would probably have gotten quite long before it was over.

*The story exists in Tolkien’s notes in two manuscripts, both dating from the middle to late 1950s; Tolkien appended a brief note to the manuscripts in 1968 explaining his purpose in telling the story. After that date, it appears, he never again interacted with the tale.

*You may recall that I floated a lot of theories about what this story would be about last time, based on my reading of The Line of Elros. It turns out I was right . . . about none of them.

*This story is best summarized by quoting from Tolkien’s own prefatory note: “Beginnings of a tale that sees the Numenoreans from the point of view of the Wild Men.”

*It is, then, a story about the men that remained in Middle Earth, the descendents of the Easterlings who fought with Morgoth in the War of Wrath and thus were not transported to Numenor with the Men who fought on the side of the Valar. I find this a very interesting idea for a story. Let’s get right to it.

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