Ask Matt questions for 11/8/04

Lost News

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Question:
I'm loving Lost and although it's a genre show, do you think there's some chance for it to be nominated as Best Drama at the next Emmys? The X-Files was nominated in its former glory, so I think that when a show is so good and it's the genre type, the high ratings help it be chosen. Unfortunately, quality isn't enough, and they look to genre shows like they're not adult and serious enough. That's why the nothing-more-than-cult shows Alias and Buffy never had a chance. Do you think the TV Academy should recognize someone from the cast as well? OK, I'm sure it will get at least 11 nominations, but it's time for them to begin paying attention to other types of shows. The X-Files is the only genre cult show the Emmys have recognized in ages, while classics like Buffy were always snubbed!! Enough with The West Wing. Unfortunately, I think they would rather nominate Desperate Housewives. It's an "adult show," right? — Mark O.

Matt:
Actually, I'm thinking Lost has a better shot at a Best Drama nomination than Desperate Housewives, despite the latter's smash-hit status. Housewives straddles that risky line between comedy and drama, so it could fall between the cracks regardless of popularity, and because it refuses to take itself too seriously, the Emmy voters might unfortunately feel the same way. I think both are deserving — certainly more than The West Wing — but Lost has an even better argument to crack the Emmys its first year out. Much like 24's instant success in the Emmy nominations, Lost redefines a genre with its tremendous writing, acting and production values, not to mention its psychological richness. I can't imagine it not topping many year-end critics' lists, and both will probably figure prominently in the Golden Globes race as well. As for acting nominations, who knows. That's an awfully crowded field, but Lost provides so many great individual showcases for its characters, it's possible. The good news is: We don't need the Emmys to validate either of these shows. They're doing just fine without it.

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Question:
There has been the speculation of late that the survivors on Lost may actually have been killed in the crash and are now in some type of "limbo," which leads me to a question I have often pondered. When show creators, writers, producers, etc., come up with a project or concept, such as Lost, do they have the show plotted in advance? Using Lost as our example, do they know from episode one until episode 13 in which direction they're going, what they're going to do, how some of the subplots conclude? Or do they make it up as they go along, episode by episode, viewer reaction, etc. I have heard that Smallville is basically pre-planned for a five-year run. True? To the contrary, Alias, one of my faves, seems to have written itself into some corners and forgotten certain subplots, like the mysterious deadly woman in the Rambaldi manuscripts which seemed to point to Sydney, then to her mother, now seemingly forgotten. So what's the general means of coming to conclusions? Pre-planned totally, partially, not at all? Just wondering. — Ed

Matt:
Fascinating question and impossible to answer simply. I have to believe the producers of Lost have at least a general outline of what the overall answers are to many of the island's mysteries. As the show evolves into as much a character study as a thriller, I am fascinated at the possibilities and am relieved to know the show won't be consumed by constant references to a mythology whose resolution won't be reached for (I hope) quite some time. But it's also true that all long-running weekly episodic series are continual works in progress, prone to peaks and valleys and inconsistencies that make it look (as in Alias and the last season of 24) as if they're often making it up on the spot. In most cases, the producers start a new season with a general sense of where they're going. But there are 22 hours to fill (maybe more in some cases), with lots of story to churn, and some episodes and storylines are always going to work better than others. In the world of TV, less would be more (or at least often better), but that's not the way American TV operates. We're greedy for new episodes, and we should be thankful for every home run that we get.
[Newsposter's comment: it's my impression that for arc-driven series (in general) the basic shape of the plot is planned, but there is room for adjustment. Some producers obviously have a clearer vision than others (Babylon 5) of where they want to go than others, but this does not keep outside factors (Lena Olin will not sign a contract) from affecting their plans. And if one of those factors is the person with the guiding vision being distracted by a hot project (Lost), and there are several new people among those left minding the store . . .]
 
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