HOW LOST FINALE WAS LIKE A BEATLES REUNION (WITH A TWIST)

The following is my reaction to The Daily Caller's Jim Treacher, whose blog post "Just One Question For Lost Fans" asked, "So what did you hate about it?"

I have always preferred non-fiction to fiction. I feel cheated when I am asked to care about non-existent people in a perturbing situation and how they willl end up and how the situation will be resolved only to find that the creator of the scenario decided to leave things up to the reader's own interpretation in the end.


EXCUSE ME?


You've been stringing me along, twisting my emotions around your little finger, making me anticipate the answers to the questions your tale raises, and then you want ME to help you write YOUR ending for you? THAT'S YOUR JOB! IMHO, that's just a hedge against upsetting some readers who want things to be resolved in a definite manner one way or another. It's not creative, it's lazy and cowardly.


As I tweeted earlier, I had expected the Lost finale to be something mildly mysterious like Orson Welles' timeless 1941 masterpiece Citizen Kane (spoiler video here; no embed available) and got instead an ending more akin to Donnie Darko, the vastly overrated 2001 teen angst-fueled time-travel crazy quilt that writer-director Richard Kelly (The Box) is still trying to successfully follow up:






But since then, I've come up with a better way to describe my feeling.


Imagine, for a moment, that John Lennon was never assassinated and that George Harrison hadn't passed away, and the Beatles had resolved their differences long enough to have ONE more concert. You are in the front row as they are playing "A Day In The Life" for the first and last time live. They play and sing flawlessly heading up to the iconic final "endless" E chord.






Lennon drops his guitar, and heads for a grand piano on the stage. McCartney sets down his bass, and another grand is rolled up for him. Ringo tears from behind his drum set to get behind his own, and finally, Harrison follows suit. The crowd goes wild, waiting for the Fab Four to re-enact one of pop music's most amazing moments.


Lennon gives the signal to the others, they look down at the ivories, lift their hands over their shoulders, drop them down with ferocity, and play...


..."Shave and a haircut, two bits."


How would you process this? You must count yourself lucky to be one of the few to witness the Beatles in person, but at the same time, you also have to figure, why supply such a stupid, insipid ending to a legendary song?

For the record:  Treacher actually enjoyed the finale, despite its flaws.

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IS NANCY PELOSI'S PRIEST FATHER GUIDO SARDUCCI?

It's well documented that Speaker of the House Nancy Pelosi (D-San Francisco) considers herself an "ardent practicting Catholic" (albeit one that holds views regarding the value of unborn life that are the diametric opposite of the Vatican). Rarely, though, does anybody ask who advises her regarding issues of faith. Who is Congresswoman Pelosi's Reverend Wright?  Her Jim Wallis? 

A fair indication of who that person might be is the way that the woman born a Democrat Party princess likes to highlight the way that the artistic community could benefit from ObamaCare. 

Here is Pelosi  on May 13, 2010, as she explains in a speech before the Asian-American & Pacific Islander Summit that ObamaCare would allow musicians to (ahem) forego conventional employment:

 

"[I]f you want to be creative, and be a musician, or whatever, you can leave your work, focus on your talent, your skill, your passion, your aspiration, because you will have health care, and you don't have to be job-locked."

Surprising?  Not really.  This is just an extension of the line of reasoning "reasoning" she expressed in her interview on MSNBC's Rachel Maddow Show on March 16, 2010:

"Think of an economy where people could be an artist or a photographer or a writer without worrying about keeping their day job in order to have health insurance..."

Where could such views on the lifestyles of artists come from? Maybe this is an indication of whom she recognizes as her spiritual leader: This gentleman, who did this commercial back in 1982:

That Father Sarducci's view of the artistic community might have influenced parishioner Pelosi makes about as much sense as anything regarding her.  But of course, most people who know of Father Sarducci from the early years of Saturday Night Live are aware that he is, in fact, not a priest; he is comedian Don Novello, who created the brilliantly deadpan Sarducci character after purchasing the priest outfit from a thrift store operated by the St. Vincent de Paul Society. In 1981, Novello actually was arrested in Vatican City for "impersonating a priest" while trying to conduct a Sarducci photo shoot where picture-taking was prohibited. 

Fortunately for Ms. Pelosi, in Washington, D.C., there are no such laws prohibiting impersonating a competent public servant.

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FAN OF "LOS SUNS" EJECTED FROM GAME AFTER REFUSING TO TURN PRO-ARIZONA SHIRT INSIDE OUT

Video from http://www.abc15.com, Copyright 2010 The E.W. Scripps Co.

This is the kind of nonsense that happens when you start getting partisan fights involved with sports. Unlike politics, spectator sports truly unifies diverse groups of people. The President of the Suns reversed this particular situation, showing he has more sense than the owner, upon whose order the "LOS SUNS" statement was made.

This is a step in the right direction, but the sports media majority -- which is, after all, a subsidiary of the MSM - are egging the politicization on, pushing to make every arena, field, and stadium a left vs. right battleground. ENOUGH! This schtuff's gotta stop, and it's gotta stop right now.