Note to readers: The first two sections are boring background. Feel free to skip ahead to the more interesting discussion in part three, below the video.

“I once was lost.” – John Newton

I’ve not always been kind to Lost. Maybe even a little harsh. I first came to the show from my dad, who was a fan. When my brother bought him the first season on DVD, I borrowed it and dug in. I found it very effective at times, with fun mysteries about rumblings in the jungle and weird smoke and a light shining out of the ground. But those fun moments were a little too few and far between for me. The format of the first season, with its on-island stories broken up by single-episode flashbacks developing each character’s history, both made the (to me) more interesting on-island stories move too slowly and was too dependent on the acting of its cast, who (especially that first season) were of varied abilities. Locke story? Yea! Jack story? Ugh. And so on.

I would step away, then try again at various points. I would rewatch a previous season or handful of episodes when I felt the push to try again. After enjoying a season four catch-up (DVRed off of Syfy when it was still Sci-Fi) to watch season five, my wife and I just couldn’t handle the week-to-week viewing of a show we just weren’t enjoying very much. So we gave up. For good, I thought. When season six rolled around in 2010, I’d skim through my Twitter feed on Wednesday mornings, catching some reactions to the previous night’s episodes while doing my best to avoid spoilers in case I did want to dig in again.

“I’m lost in the world. I’m down on my mind.” – Kanye West

Then all hell broke loose. Friends of ours who are not particularly television addicts were rushing home on Tuesday nights for their weekly Lost viewing, but they were increasingly annoyed by the slow pace of season six. And boy, did they hate the finale. So few answers! What about this? What about that?

Honestly, it left me a little intrigued.

But also a little put out. I didn’t feel a part of this fan community. I had never watched that closely for secret signals about what was going on. (If pressed, I could probably remember half the numbers of that famous sequence.) So after the hullabaloo died down, I began suggesting to my wife that we attempt a rewatch. From what point was a tough answer, but we settled on season four. That turned out to be a pretty great choice because I loved that season on the rewatch. The on-island stories were moving along swiftly, the new cast of characters included some stronger actors with richer stories to embody, and there were lots of intriguing questions rising to the forefront. I once again lost interest in the beginning of season five. Way too much time off-island. Glacial plotting. Until it got awesome with a few episodes left. And finally, turning to season six, I realized this was a show I loved. Or rather, in seasons four through six Lost became the show I always wanted it to be: not a collection of short stories with a couple mysterious strands running through it, but a creatively, structurally, and emotionally ambitious story with strong characters who made decisions without enough information and lived with consequences that they didn’t understand.

I watched the show with my wife, apart from the fan communities that were listening to showrunner podcasts and debating clues and constructing timelines and predicting where the show was going. Other than the general sense from friends and twitter buddies (and one afternoon in which I read Jason Mittell’s Lost Wednesday posts on Antenna) I’ve been able to watch it (1) without the questions that gnawed at the show’s devotees and (2) in one relatively compact stretch. Both of these factors presumably made a difference in how I watched. But I’ll leave it to smart folks like Jason Mittell to work that out.

I’ll focus on something slightly different. I knew from others that the show’s finale was religious, but I didn’t know the specifics. (Alison Janney is some kind of angel who decides who was good and who was bad? Or something?) I also knew that people were unsatisfied that so many questions were left unanswered. At the forefront of my mind in watching season six were not questions about how the Dharma Initiative got to the island or how the donkey wheel placed people in Tunisia. I wanted to know, “Why aren’t people digging this as much as I am? Why am I loving this so much when so many friends whose television opinions I respect dislike it so much?” What follows is my (inadequate) attempt at a (partial) answer.

“We are building a religion.” – Cake

With the possible exception of Angel, which was built around the idea of redemption (what it is, why it matters, how to get it) and secondarily around the nature of prophecy, Lost is the most religious show I’ve ever watched. First, I’ll say how it’s religious, which should lead naturally into my reasons for appreciating the final season (and especially the finale) more than the more devoted fans.

• Religious Themes: Central to Lost, at least in its middle seasons, was the conflict between faith and reason played out between John Locke and Jack Shephard, respectively. This conflict became more nuanced in the later seasons, as Jack’s arc took him from “man of science” to “man who was convinced that his life had purpose, despite there being little more than a gut feeling telling him this.” Locke went from faithful servant of the island to dead. Importantly, both end up in the same place in the end, but for most of the last two seasons the show was in favor of a “reason tempered with humility of the unknown” approach that Jack came to embody and which allowed him to be the island’s savior. (Nothing in those early seasons suggested to me that Jack was a Christ-figure, but that’s how the finale played it.) There were plenty of other religious themes, including the nature of prophecy (again, parrallels to Angel), the existence and nature of free will, the role of authority, the possibility of miracles, and the search for meaning. Lost was a pretty religious show, at least from season two on.
• Religious Mythology: But Lost went beyond merely entertaining questions about religion, and built its own religious mythology. It borrowed from existing religions to create its own set of myths, symbols, and rituals. (I don’t want to play up to much the notion that “Lost fans are like religious devotees,” but lots of people set out Tuesday nights the way that religious practitioners set out their holy day.) More interesting to me is the way that Lost gloriously defied reducing any of its symbolism, imagery, and ideas to a specific religion. It probably borrowed more from Christianity than other religions, but the show really creates its own set of artifacts, heroes of the faith, and symbolism in a way that few shows attempt. It borrows liberally from other religions, but puts them to its own use in creating a mythology built on common archetypes (twin brothers, games, individual sacrifice) that has its own specifics. Protect the light at the center of the island! Turn the donkey wheel! Trust Jacob! Don’t trust Jacob! Lost created a fictional universe with a set of moral principles, focal stories, and religious perspectives that goes beyond typical world-building. (Side note:I was a little annoyed at the stained glass window in the church(?) in the finale that included symbols from various religions; this suggested a that the show was more about the unity of all religions rather than creating something new out of them, which is the reading I prefer.)
• Religious Readings: Lost also provides a unique, although obtuse entry into thinking about how people approach religious texts and the parallels for television shows with rich mythologies. Here’s four rough groupings of how people approach religious texts … and Lost. (1) There are those who expect extremely detailed, accurate, and literal reconstructions of religious texts. They might, to point to one contemporary instance, determine that Jesus Christ is returning on May 21, 2011, based on a combination of interpreting vague phrases (“rumors of war”) and interpolating from specific chronologies. They expect their religious texts to provide all the answers to all the questions they bring to it. These folks aren’t more or less religious than others, nor are they all crazies. (But those May 21 folks are a little crazy.) Perhaps the Gemara era of Talmudic commentary might represent this sort of precise, detailed approach that expects coherence. These interpreters expect a level of detail and foreground a kind of interpretation that parallels (in some, but obviously not all ways) the kind of answer-seeking that marked many Lost fans. (2) Other folks approach religious texts with a set of non-religious questions. What can this text teach us about the culture at the time? About literary form? About the sociology of religion? Similarly, some folks (the kind most likely to write books about Lost) are interested in what Lost can tell us about television, about America, about our desire for meaning and community. (3) Another set of Lost viewers is primarily concerned with the stories or the characters. They don’t care about what the island really is or whether there is a scientific explanation of Locke’s ability to walk after the plane crash. They care about these people, they marvel at their stories, and they want to know what happens to them. And plenty of folks approach the Upanishads or the Koran or the Book of Ruth as a collection of really great, emotionally powerful stories. In both cases, we can learn things from these stories, the way we learn things from any great stories. (4) Finally, some folks expect that religious texts are collections of stories, often gathered from multiple authors and even more editors, that more or less hang together, and which generally tell a coherent narrative, but do so not by filling in all the details but by leaving things so open that there are any number of ways to make it consistent. Plenty is left open to interpretation and plenty is left underdetermined because the point was never to fill in all the details but to tell parables, allegories, and other good stories that are compelling and instructive.

These groups are not exhaustive, nor are they mutually exclusive. One could easily shift perspectives and embrace the value of these (and more). I prefer approach (4), with an interest in the careful analysis represented in (1) and plenty of external questions like those valued in (2).

Ultimately, appreciating the last season of Lost is about adopting approach (3) or approach (4). The first approach will set you up for disappointment. The second is interesting, but not one that the show really cared about. (Unlike, say, 24 or The Wire, which emphasized their real-world applications.) The fourth approach is the one I most closely identify with in the interpretation of religious texts, so I think by being removed from the fan communities that emphasized (1), I tended toward this approach and was thus able to get more enjoyment out of the final season. And while the show often flirted with (1) and mostly focused on (3), the finale was really focused on (3) and, especially in those last fifteen minutes, on (4). Having spent most of the final season thinking about how little interested I was in answers of the sort that (1) expected (I could barely remember the questions), and only mildly interested in (2) and (3), I think that I was a better position to appreciate such an ambiguous finale. This doesn’t mean that the show doesn’t hang together; it may fit together as tightly and coherently as the first approach expects. But I never expected everything to be explicit, everything to be answered, everything to be tied together. (Again, this is only partly because of this taxonomy of religious reading; I was also primed by other viewers to expect a lot of questions remaining unanswered.)

Religious texts mostly don’t make things explicit when they are telling stories. (They often do that elsewhere.) They tell you parts of the story: the parts that answered someone else’s question or that portrayed a particularly resonant idea. And as in most religious texts, Lost is about people without enough information, making monumental decisions, the consequences of which they don’t understand. Occasionally the gods/God/showrunners step in with another piece of the puzzle, either directly or surreptitiously. But mostly we live in ignorance, trying to learn a little more, fitting together the pieces, knowing that ultimately even if it all fits together we’ll live most of our lives without all the pieces in place.

As in Lost, so in life.

[Having written all this now, I am interested to go and read others' interpretations of the final season and especially the finale. Perhaps I'll even update this afterwards.]

There’s an old adage in music that sophomore albums are usually terrible. Many bands manage one great break-through album before their sophomore release reveals a band not worth the investment. If the sophomore album holds steady or improves on the debut, then you have a band that is really worth throwing yourself into for the long haul.

I think something important also happens on television shows in their second year, but it’s often the opposite from the music case. Many shows have trouble finding just that right balance of tone in their first year. Occasionally they recover, but too late to save the show, like Dollhouse. Sometimes they recover and they have the good fortune to be on NBC (!), where very modest ratings can bring back buzz-building shows like Parks and Recreation, which is having a wonderful second season. But a good show is one that can manage by its second season to strike consistently in its tonal sweet spot, and hit that groove through enough episodes to make for really enjoyable viewing.

A great example of this is Chuck, which somewhere around episode five or six of its second year turned from modest and enjoyable spy comedy to unbelievably hilarious spy show, workplace comedy, and heart-twisting drama. In that second season, it was about as perfect as a lightweight TV show can be.

Burn Notice was always designed to be more episodic, and there are plenty of great moments in the first season. But the immensely irritating brother was largely removed in the second season, and the mother was made less histrionic and more sympathetic in the second season, which eliminated the two most unwatchable elements of the first season. The story became more complex without being too dense, the actors revealed themselves to be very comfortable in their roles, and the writing for each character became more specific. It was a pretty great season.

Then in the third seasons of both Chuck and Burn Notice, the producers made a change, and that change was largely the same in both cases. To push the edges of what each show did well, they attempted to take the central character (Chuck Bartowski and Michael Weston) and isolate them from their closest allies (Sarah & Casey for Chuck, Sam & Fiona for Michael Weston). In doing so, they took each character to a slightly darker place that challenged the viewer’s understanding and relationship to each lead. (This is more true for Chuck than Michael Weston, but it applies to both.) Can Chuck became a “real spy” and still be the person that Sarah (and the viewer) loves? Can Michael work for Gilroy and still be the good guy that does bad things for helpless people, which keeps Sam and Fiona (and the viewer) as allies?

It makes for more challenging viewing to see the central character in the show you love become less sympathetic. But when it works, it works. Buffy the Vampire Slayer worked well through seven seasons by pushing its title character further and further away from her friends (and only occasionally closer again) and making her more and more irritating. But the writers (often, not always) did such a fine job of telling their story that the viewer was rewarded with seven good-to-great seasons, even when those seasons (starting with two) push the lead character to a dark place that distances her from her friends.

But it doesn’t always work, which is what is worrying a lot of fans of Chuck. Where is the normal guy we loved? Where is the relationship with Sarah going? Who are these new characters pushing our two lovers away? Why is Chuck acting like such an ass? Has the show, in the unfortunate parlance of our time, jumped the shark?

Although I have some small worries, I do not think Chuck has ruined itself. It’s going through a fairly typical attempt (especially typical for a third season) to create drama by isolating the main character. And – this is important – the worries that we have about Chuck are amplified by standard television scheduling. Waiting week to week for each episode allows one to dwell on those worries about where the story is going and reduces the trust we have in showrunners to tell a compelling story. I’m sure many of the complaints about this season of Chuck would be dissipated if it could be watched in one weekend mega-viewing, without the unfortunate weeklong wait or monthlong Olympics hiatus. Let’s trust Josh Schwartz & Chris Fedak. We’ve already seen in the last month that Matt Nix can push Michael Weston to a similar place as Chuck and bring him back. Similarly, the third season of Mad Men left many cold in its front half, until viewers had a chance to see where Matt Weiner was taking us. (Surprise! He further isolated Don Draper from his family.) I don’t doubt (too much) that Schwartz & Fedak can do the same.

And even if they don’t, so what? Let them tell the story they need to tell, even if that means it loses some of its audience. I’m waiting to watch this last season of Lost for a while still, but I really hope they leave a lot of loose ends, things that leave the audience wondering. Great stories can do that. They can leave us disappointed, and they should, because sometimes life leaves us disappointed. (Of course, a show can be disappointing because it gets less good, but I’m talking about a story taking a character or story to a place we don’t want them to go.)

So I haven’t given up on Chuck, and those who have seen the screeners are saying tonight’s episode is pretty dang awesome. Cheers to third season isolation, and the hug-it-out moment we invariably get at the end.

The only reason I am looking forward to the final season of Lost, which begins tomorrow, is that it will finally be over.

Lost is a show with an expiration date printed on the label. Fortunately, Damon Lindelof and Carlton Cuse understand that and have said for some time that the show should only go about 100 episodes. This season’s 16 episodes will put that total at about 121, roughly 50 more than was really necessary.

Lost works according to the Reverse X-Files Principle. The X-Files was a wonderful show about a skeptic and a believer (much like Jack and Locke on Lost) who were assigned cases that typical FBI agents couldn’t or wouldn’t handle. The show was very, very good at giving them a fascinating case to solve each week, and its loyal fans loved it to death on internet message boards by piecing together clues concerning long-running plots about aliens and government cover-ups (sounding familiar?). However, when the show tried to tackle long-arc topics, like the abduction of Fox Mulder’s abducted sister, the episodes were often duds. (Not always, but often.) The later seasons became too enamored with the mythology of the show and tried to make well over half of the late seasons’ episodes about dark forces moving against our beloved FBI agents. Thus begat The X-Files Principle: monster-of-the-week episodes that were light on the mythology are superior to the grind-it-out, mythology-heavy episodes.

Lost, though, acts according to The Reverse X-Files Principle. In the case of Lost, the most interesting episodes were those that advanced the mythology, and stand-alone, character-driven episodes were the least compelling. That is why the first season is so hit-or-miss. After a spectacular pilot, and spot-on blending of character, plotting, and mythology-building in episodes like “Walkabout,” too many of the episodes took us into the lives of characters that, frankly, weren’t all that interesting. Sun and Jin had an interesting dynamic on the island, and it was helpful to find out about their pasts, but episodes that simply follow them through their lives in Korea dragged on too long. The very worst were flashbacks involving Jack, easily the most one-dimensional character at the center of any critically adored drama. Terry O’Quinn as Locke was the only actor capable of turning any material into a work of art, while episodes focused on Kate, Hurley, Claire, Michael, and Charlie were at the whims of their episodes’ writing and mythologizing.

Since it has been five and one-half years since Lost began, we’ve had to suffer through lengthy stretches between seasons and sometimes just as interminable lapses in plot movement while Lost was on the air. And that was simply too long for a show so uneven as Lost. I know it has its devoted followers, and many critics consider it one of the golden jewels of television in the 2000s (on broadcast TV, no less!), I think it is so exasperating in its uneveness, that the density of the mythology makes it uninteresting to me (and, I’m sure, many others). I’d like to watch this final season of Lost as it airs to take part in this exciting moment in television history (which I do think it is), but I won’t be watching along. I’m still dreading my choice between watching the whole of the first five seasons again (ugh.) or trying to pick up in season four or five (huh?).

And that is why Lost is just too damned long. Too many non-mythology episodes to slough through. Too many episodes total for a show with such a dense mythology. Combine those two and you have television to dread, television as assignment rather than television as enjoyment. (I mean “enjoyment” in the full, critically aware sense, not in the watching Real Housewives sense.)

I could forgive Lost if I thought that it was better at correcting problems as it went on. But my viewing of later seasons (I made it half way into season five) never confirmed that those corrections were made. And that’s one of the reasons that I think both Fringe and Dollhouse were better television. Neither hit the highest highs of Lost, but both shows recognized problems with their first seasons (reining in William Gibson on Fringe, heavier mythology and less Eliza Dushku on Dollhouse). They found a smart balance of mythology, pushed the limits of dramatic storytelling’s adherence to the laws of physics, created memorable characters, and generally were smart and entertaining serials.

One question that this leaves us with is this: Is it better to love a show with higher highs and lower lows, or to love a show that is steadier but never reaches the same heights? Let us not confuse this with a show’s ambition. Fringe dares you accept things just as ludicrous as Lost does, and Dollhouse dares you to believe that its science is really possible and soon. And while neither invites inviting friends over for “event television” to the same level as Lost, I’m pretty sure I’ll find them more satisfying viewing on an episode-to-episode basis.

So I congratulate Abrams, Lindelof, and Cuse on their success on Lost, scattered though they are. They made a difference in television, changed its course in interesting ways. I hope those sitting down for the final season watch it with open minds for wherever (or whenever) they take it.

Critical consensus is that The Wire is the best television show of the decade, and probably the best show in the history of television. Perhaps despite being the best, though, the show is not particularly influential. Media scholar Jason Mittell recently wrote that The Wire, like Van Morrison’s Astral Weeks, is immediately recognized by informed viewers/listeners as a great work of art, but also recognized as completely inimitable. You admire it, you are in awe of it, but you don’t attempt to do what it does. Perhaps partly, you are intimidated, but more importantly it seems like something that it would be impossible to try and copy. So not only do you not try to examine why it is successful and then copy it, you don’t even try to draw any lessons from what makes that show great. Its greatness is unique and its uniqueness is inimitable.

In comparison, I’d like to add that despite being vastly inferior to The Wire, The Sopranos may be the most influential television show since Friends. (Possible exception for Survivor.) And while I felt the show was consistently over-rated and I lost interest in the show after two seasons, I do think The Sopranos had a much bigger impact on television than The Wire. The variety of its influences is as notable as the intensity of its influence.

1. It convinced Hollywood actors that there were great roles for them in television. Dennis Leary, Glenn Close, and more came to TV in large part because they watched The Sopranos and found the stories so powerful and the acting so superb that they thought they could do better there than in Hollywood. The standard for dramatic acting was upped.
2. In what would become one of the most annoying trends on television in the 2000s, The Sopranos used therapy as a contrivance to give actors an opportunity to go mono a mono in scenes that seemed designed for an actors’ workshop. You could determine a show’s pretensions by how often its characters went to therapy (except for Monk, which used the trope for comic effect). By the time Gregory House, M.D., got around to it, he had to be fully committed to an asylum for there to be any plausibility in what was by 2009 a hackneyed plot device.
3. Want to get arty? Try a dream episode! We’ll have nearly silent scenes played out on a boardwalk, and everyone will want to get in on the game. Sure, Buffy also did it with “Restless,” but it was David Chase who codified the idea that inner turmoil over a tough decision should be visually represented in a dream episode or dream sequence. Protege Matthew Weiner would add a twist by making Don Draper’s dreams into daydreams and memories, but the basic model still holds.
4. Great television happens on cable. Drama found its home on cable, with each channel that wanted to make a name for itself finding a flagship drama that would define its ambitions (AMC’s Mad Men, SciFi/SyFy’s Battlestar Galactica, FX’s The Shield, Showtime’s Dexter). Each of these was an attempt to build a brand through HBO’s success with The Sopranos (and to a much lesser extent, Sex and The City and Six Feet Under).
5. Catholics get all the good stories. If you want religious characters on television, two rules apply: they’ve gotta be Christian, and they’ve gotta be nondescript or Catholic. Evangelical? Charismatic? Mennonite? And, God forbid, Jewish or Muslim or Buddhist? Good luck! The Sopranos reinforced the notion that guilt is what makes religion interesting, and Catholics hold the reigns on dramatic guilt. (The idea of Jewish guilt, with its siblings harping and nagging, get manifested in comedic roles, and we’re talking drama here.) Obviously, Big Love stands as an exception, but we all recognize how exceptional that sympathetic and unflinching portrayal of religion is. If you don’t want to play up the guilt, go the Reverend Lovejoy route and make the character nondescript and mainline, and then use that for a funny episode of how your sit-com family is conflicted over whether to take the kids to church.

I could go on and on about how The Sopranos either created or reinforced various ideas about television drama in its storytelling and in its prominence, but let’s get back to The Wire. What is The Wire‘s legacy?

Its legacy is not the complex, long-developing storylines. Attempts at that style of storytelling wore their Lost comparisons openly, or were soapy WB/UPN/CW teeny-bopper shows. No episode of The Wire (including the pilot) makes sense by itself, any more than a chapter of a novel could stand on its own. Lost built its mythology as it went and used mysterious clues to keep the viewer guessing, but The Wire presumes that you would understand each character had a backstory in the way that a newspaper article about the Great Recession assumes you lived through the financial crisis of 2008. It simply picks up mid-way through a story and lets the viewer fill in the rest. It does it without the wink to the viewer that Lost is always giving (there’s a polar bear on a tropical island, but we’re not telling you why!). It is played with a completely straight face, with a seriousness appropriate to a newspaper story.

Its legacy is not the quality of the acting, which was uniformly superb. The acting on The Wire is not showy the way it is on The Sopranos or even Mad Men. Who would you give an Emmy to in any given year? Obviously The Wire had some of the most memorable characters in the history of television, but even when the actors were doing their best work, there was no guarantee that they would get an Emmy-ready episode written for them. Just as each character is beaten down by the system, each performance is subsumed to the story of the city of an American city. (Maybe Baltimore should have won an Emmy?) And while other television shows openly stole actors from the stable developed by the superb East Coast casting, no one is giving Michael K. Williams roles like James Gandolfini is offered.

If there is any legacy for The Wire, it will be the way it elevated the possibility of television as an art form. People who don’t care about TV can find that they care about The Wire, just as someone with no art background can find the joy in a Christo and Jeanne-Claude. You tell your friends about The Wire the way that Mittell tells his friends about Astral Weeks. Referring to a remarkable run of films in the ’50s and ’60s, Mike D’Angelo recently wrote that Jean-Luc Godard was a game-changer who didn’t change the game at all. And that may be exactly what happened with The Wire. It was so great, so special, so revered, that no one really knows how to do more than name-check it.

My interest in television began in the summer of 2002. I had watched more television than was probably healthy while growing up, but television was an escape, a mindless activity to relieve boredom. I watched Saturday morning cartoons, CHiPs reruns, and other stuff that would interest a kid in the 1980s. A lot of the television I watched as a kid was old RKO and MGM movies on AMC, back when AMC was what TCM is now. In the 1990s, I watched TV Land on Nick at Night, where I learned about how a sit-com works and first encountered the Jewish Comedian Type by watching The Dick Van Dyke Show. I watched NBC’s TGIF line-up, and later its Thursday night block, so I saw ER and Friends from the beginning, but eventually lost interest in each.  Through all of this, I just watched TV for something to do.

When I started graduate school in the fall of 2001, I intentionally did not own a TV. I feared how I would do in graduate school and that such a mindless diversion might keep me further behind my peers. I should be reading novels. Russian novels. Important literature. In my first six months of graduate school, I read Notes from the Underground, The Brothers Karamazov, and Crime and Punishment. I know I read other things as well (I remember getting ideas from the Pulitzer Prize winners list), but the Dostoyevsky stands out. How else would this humble Midwesterner talk to these Ivy League snobs? What if my professor made some obvious reference to some book not in my field but that every educated person should have read?

By my birthday in January, I was ready to accept a television as a gift from my parents. I realized that not having that pressure valve I grew up with wasn’t going to help me any. I had a $30 VCR attached to the 19″ TV (which a friend convinced me was bigger than anyone really needed), and had wires that would connect my laptop to the TV so that I could watch DVDs. I was expanding my film interests via Netflix, then a relatively new service. I also tested it by renting a disc of a show I had heard about but never watched, My So-Called Life. I enjoyed the first disc enough that I decided to purchase my first ever TV on DVD box set. I watched the series through, and found myself interested in this world of a mopey teenage girl, her even mopier love interest, and a sexually confused teenager trying to forge an identity for himself. I was a bit embarrassed to enjoy a show like this, but I understood well enough that this was something more than just pandering to an audience. There was something very beautiful and moving about this portrayal of high school. The topic of the show might be embarrassing, but I didn’t feel embarrassed by what these characters were saying or doing. They were believable, they had lives, and I didn’t feel like the show was praising their self-centeredness as much as lovingly showing that this is how life was for some people. In some ways, it was the flip side to Freaks and Geeks, a show my roommates and I gathered weekly to watch during my senior year of college. We laughed at these geeks because we were these geeks. But here was a show that felt very unlike my own experience of high school, but that I completely believed was somebody’s experience.

That show pales in comparison to the one that I discovered about the same time. Reruns were airing on weekends, and the commercials seemed pretty corny, more or less indistinguishable from Highlander and Xena. But I gave a chance to show called Buffy: The Vampire Slayer. And it turns out, it was pretty funny.

I was friends with a comedy writer at the time; he has written pieces for The Onion and McSweeney’s. He loved a character called the Mayor, and while he wasn’t willing to say he liked the show, he absolutely loved that incongruence between the 1950s TV dad and pure evil. What can I say? He was right about the Mayor. That gave me a little confidence to Netflix the first season of Buffy on DVD. (I’m not sure that we were using “Netflix” as a verb in 2002, but we certainly do so now.) What I discovered was that beneath the cornball exterior was a show that I really enjoyed. Here was a show working in a genre that I knew nothing about – horror – and yet I could understand that they were playing off genre staples, even if I had know real knowledge of those genre tropes. Here was a show that was incredibly witty where many of the best lines went to the most picked-on guy in school. Here was show where the very feature that made someone special and likeable was also what made them unpopular. Here was a show in which good battles against evil, but the lines are murky and the enemy is ever shifting.

Beyond all the elements that I liked about the show, one thing stood out to me then and made me fall in love with television as a medium. With BtVS, I discovered television’s power for serial story-telling. Unlike the sit-coms I enjoyed as a kid, or The Simpsons episodes I watched each day in college, this was a show that trusted the viewer to follow these characters through their lives. We trusted Joss Whedon to helm this story, a trust he earned in the show’s magnificent second season. Whedon trusted his writers ground the supernatural silliness in real human (okay, or vampire) characters, trusted his actors to switch from broad comedy to fear to grief in the coarse of a single episode or even scene, and ultimately trusted his audience to follow him through this world. This was a totally new idea to me in 2002. Here was a show that rewarded dedicated viewing in the proper order. It was a sea change in my thinking, the sort demanded by Alfred Hitchcock when he demanded that theaters allow no late entrants to Psycho.

And this was made possible by two emerging media: Netflix and TV on DVD. I think DVD has done more to help television than it has to help film. Studios may line their pockets with each successive technological improvement in home viewing (VHS, DVD, Blu-Ray), but the real change in movie viewing happened when VHS allowed people to watch films in their home on their own schedule. Television never performed well on VHS, so it was with the advent of DVDs that television entered its heydays. Netflix allowed one to sample these expensive box sets before buying them (or instead of buying them), and their contribution should not go unnoticed. But the real change happened with the ability to purchase an entire season of a television show and watch it as quickly as one dared. In the summer of 2002, I was taking an intensive Latin course, which I would rush home from each afternoon to plow through the newly released third season of Buffy on DVD. I didn’t have to wait 30+ weeks to watch the show as it aired; instead I could enter a world’s mythology and live in it for days or weeks at a time. This was unprecedented in the history of television. TV box sets of shows people loved in the ’90s, like Friends, The Simpsons, and Seinfeld were huge money-makers in the early years of this decade, but it was the ability to find more obscure shows that really transformed television.

Many others have told the story of what happens next. A show like Lost works because fans can devote themselves to rewatching it on DVD. A show like Survivor is heralded by the networks for its watch-now (read: no one cares about the DVDs) ratings. (A stunt less successfully attempted by Jay Leno’s move to prime time late in the decade.) A new business model emerges where shows like Family Guy and Futurama return from the grave because of strong DVD sales, shifting the emphasis from initial airings and syndication to initial airings, syndication, and DVD sales. (Later to be supplemented by iTunes rentals, Hulu viewings, and transmedia sales.) HBO can build its audience through fans discovering The Sopranos and Sex and the City on DVD. People can encounter international imports like The Office and Slings and Arrows for the first time. People can continue to be TV snobs, but in a new way. (“I don’t own a TV, but I love The Wire.”) Most importantly in this talk about the impact of TV on DVDs, however, is the thing that first drew me into the idea of television: a really good story told over a 6- or 13- or 22-episode season is a wonderful thing. A film may benefit from being concise and particular, but no film matches what a great television show like The Wire can do over five magnificent seasons. One hundred or more characters, each as focused and real and well acted as any on film, interacting in a complex drama set against the background of a city more real than any non-resident’s idea of the real Baltimore. And it’s not just The Wire. There are a dozen or more shows that have each used television’s unrivaled power of serialized, pictorial story-telling to achieve new levels of artistry. The technology and the shifting media models (let’s not forget the rise of cable) made it possible, but it was the David Simons and Ronald D. Moores and the Amy Sherman-Palladinos who rose to the challenge and gave us all a reason to appreciate what has happened this decade.

At this website, I hope to celebrate inessential things: things that are not necessary for survival, but that make life wonderful nonetheless. And television in the 200os was wonderful indeed.