August 16, 2012 • 2:01 pm
I really enjoyed the show Life. I watched the entire run the way I often do–while folding laundry–and the characters were believable, complicated, and surprising; the stories generally good; and the overall feel…well, it felt like a show that was made specifically for me. Also, it had the best series ending of any series I’ve ever seen. It wasn’t overstated; it wasn’t overambitious. It closed out the series. It didn’t feel contrived, like Life On Mars (which I loved, although I have yet to see the U.K. original version). It wasn’t telegraphed and terrible, like Lost. It was surprising and fitting and clean–most of all, it was just…graceful.
It’s a show about a police detective named Charlie Crews who was falsely convicted of a multiple murder, and spent a decade or so in a maximum security prison before getting out (with a sizeable settlement) and then rejoining the force. He comes out…changed. Part of what got him through, it is revealed early on, is Zen philosophy–and he irritates a lot of people in a delightful fashion.
I was discussing this weekend how much I liked Vonnegut’s tendency to reveal key aspects of the end of his stories before they even got rolling–the painting in the barn in Bluebeard
, the Tralfamadorian shenanigans in The Sirens of Titan
, the chronological complications of Slaughterhouse-Five
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Filed under: Uncategorized, David Foster Wallace, fiction, life, narrative, review, structure, tv shows, twist