Lost and Found: A journey of discovery with "The Wizard of Oz"

Four misfits creep forward in an illumined chamber. Fire shoots from the altar in front of them. They cower, waiting for the Great Oz to reveal himself and relieve their problems. One, a scarecrow, needs a brain. Another, a tin man, a heart. And a confused lion looks for the closest escape, in desperate need of some courage.

Sounds like a fairy tale.

It is, one of the most beloved of the cinema generation. Victory Fleming’s The Wizard of Oz brought Technicolor roaring to the front of film in 1939, inspiring decades of innovation in design, special effects and even story.

But the tale’s punch lies in the familiar arc of its characters, the satisfaction of our expectations after a long and perilous journey.

Everyone has that one thing they would change about themselves. Maybe they’d be a little funnier or more self-confident. Maybe they’d sprout a couple extra inches. Or shed a few extra pounds.

In Oz, though, you wear your flaws right on your sleeve. Even Dorothy, and her little dog Toto, bear an obvious need: to find a way home and atone for past wrongs, for taking the little things for granted like a family’s love. As an audience, it’s easy to find a little bit of ourselves in each of the characters and we’re pulled along for the ride.

We’ve all felt a little helpless at all we find in the world, wishing for a bigger brain like Scarecrow. Or felt at a loss to understand the pain of another, praying for a bigger heart like the Tin Man. Or trembled in the face of danger, real or imagined, and searched for courage like the Cowardly Lion.

And we’ve all yearned for that trip home like Dorothy, back to the comforts of life not complicated by the worries of the world or wicked witches, flying monkeys and misguided charlatans.

Sometimes, I guess it takes extraordinary circumstances.

Fleming interpreted L. Frank Baum’s 1900 novel as a dream, a break from the original writer’s vision. So Oz becomes a series of tests and trials as Dorothy confronts the fears and uncertainties waiting back home in a bright world full of wonder and danger.

She picks up three companions along the way, and their inadequacies allow Dorothy to find a strength she didn’t know she had. She guides the unlikely quartet with an increasing confidence after they brave the Wicked Witch’s castle and return triumphantly to Oz with her broomstick in hand, mirroring the wretched old woman who drove Dorothy away from her home in Kansas in the first place.

By the film’s end, Dorothy feels strong enough to even stand up to the Wonderful Wizard himself. She scolds and scorns the man behind the curtain as he continues to twist and mold his lies to the changing circumstances. She’ll no longer stand aside passively, waiting for deliverance, but takes action to get what she wants.

She discovers, and so do we, that she had the power all along. All she had to do was close her eyes and will it to be so. The power of choice, an age-old fable for a reimagined fairy tale.

Employees Only: "Casual Friday"

Only two more episodes in Season 5? I wish there were more.

I can't say anything except The Office has found its groove in the latter half of this season and is consistently exploiting its plot situations to nearly perfect comedic effect.

The cold openings are always on point. Kevin spilling his prized chilly this Thursday? I was on the floor.

Michael, Ryan and Pam forming this little in-office posse? Dwight retaliating with a secret mutiny? Phyllis's biting barbs at Pam?

"Close your mouth, honey. You look like a trout."

Love it.

I love when the U.S Office emulates that bitter tone of the U.K. original. The writers are really hitting that mark these last few episodes and succeeding on almost every front.

My one question is I don't see a clear direction for the season finale. But I'm okay with that. My confidence is restored.

A Few Mornings After: "The Variable"

Fuck me sideways.

Only LOST can leave your mind spinning and your gut wrenching like "The Variable" did last Wednesday night.

The shrill strings rise as the life drains from Faraday's eyes, fixed on the terrible realization of his mother's cunning.

Fuckin' epic.

I'm sorry for the French, but this show inspires that kind of emotions in a viewer.

"The Constant" is widely regarded as one of the most important LOST episodes and its sequel carried on the tradition. The relationship between Daniel and his mysterious mother, Eloise Hawking, turning the scientist into the most tragic LOST figure since Charlie.

His mother always knew she was going to kill him. Not only that, she ensured that this would happen. What a tragic final thought. Dark, pitch black.

But I got a sense of regret from Eloise in this episode. It made the entire thing more impactful. And I think there's a good reason for that. Daniel's journal was important. I think she honestly believes his sacrifice is necessary for whatever greater struggle we're working with. Whether it is or not remains to be seen. I think his journal will play into the Incident intricately, either ensuring it takes place or creating a disruption big enough to alter the timeline. The podcast implies that the latter is at least possible.

I've never felt more LOST heading into the final few episodes of a season. I honestly have no idea where this could go, but from the upcoming episode titles along, I'm confident it will be good places.

Bring on, "Follow the Leader".

Get LOST: "The Variable"

Faraday is back.

Our mad scientist took a leave of absence over the last few weeks, and LOST did miss his presence. But he's back now, and the one-sentence synopsis from Time Warner Cable sounds too tantalizing to be true.

In a sequel to last season's "The Constant", TWC informed me that Daniel "will reveal what he knows about the nature of the Island". Considering he guided us through the first stages of time travel, I'm guessing that could be a lot.

Awesome.

One thing we've been missing for a few weeks is hard answers. It seems those times are through. What could Daniel possibly reveal? I think after his research in Ann Arbor (a guess), he might know more about course correction on the Island and the possibilities Desmond presents because he's special.

I think we also get hard facts on his heritage, with my guessing going toward the son of Ellie (Eloise) and Charles.

The Losties also need to start barreling toward the finale. Because I know next week isn't going to feature the DHARMA folks, we'll probably get some progression there. The previews are playing up the "sides will be chosen" angle, so I'm thinking Sawyer, Miles and maybe Juliet stick with the Initiative. Jack and company probably head off with the Others. I hope we see Sayid soon.

And then, who's going to die? Rumors are circling that a major character is going down by the end of the season. My money's on Kate, with Sayid and Juliet as side bets. Not a lot of good justification why, except I think Kate's story is done.

Carlton called this his favorite episode of the season. I'm expecting greatness.

Word on the Street: "Time after Time" (The Wire, Season 3)

I'm a Wire fiend.

It's my juice, my own personal addiction to complex storytelling and dynamic characters. The show winds with an ebb and flow one in its own, striking a tone that's hard to describe but even harder to resist.

Season 1 is where my habit started. An investigation played out over an entire season, hanging behind back doors in the streets of Baltimore and its police department.

Season 2 hooked me. Writer David Simon took us out to the port, where unmarked shipments and unspoken deals are the norm. I figured out what The Wire was: a portrait of a city and its citizens, in the guise of a police procedural.

All written, directed and acted with a flair for reality and a knack for powerful moments.

Season 3 arrived in my mailbox this morning, and I popped in the season premiere without hesitation. The players are laid-out as we return to McNulty and company's investigation of the Barksdale organization. As much as I enjoyed a detour at the port, I'm glad Simon decided to bring the show back to "the game". The groundwork was laid so strongly there in Season 1 that a follow-up was a necessity.

After all, nothing's been resolved. So begins the next tale from the streets of urban America. Word up.

Splatter Specs: "The British Invasion"

Talk about fatal attraction.

How could Dexter top Rudy, our killer's homicidal brother who stole the show at the tail end of Season 1 and elevated the show to greatness?

I give you Lila.

Rita's reciprocal. A woman who can see Dexter for what he really is and not look away. But "I've always been afraid of you, Dexter," she admits. Lila has her dark side, too, and it drives the story as the Bay Harbor investigation hurtles toward a conclusion. She's beautiful, nonconforming and dangerous. She enhances every character she touches, especially our protagonist.

Every doubt I had about this show's writers has been silenced. The twists and turns of Season 2 are even more bold and surprising than the inaugural run. They take a risk, quelling Dexter's desire for a few bloodless episodes. The move to Narcotics Anonymous, which sets up our sexy foil, is played perfectly.

Not to mention the entire investigation of the Bay Harbor Butcher. Seasons 1 and 2 effectively tell one complete tale of Dexter discovering himself and in the process ducking the authorities face-to-face for the first time.

As the curtain closed on "The British Invasion", Dexter is free.

I feel like the show is now, too. The closing monologue holds the promises of "experimenting and changing the ritual" as we move forward. The scribes behind Showtime's wonder show have a wide open field ahead of them, and an August DVD release of Season 3 can't come soon enough.

At the Polls: Best Season of LOST

Our inaugural poll is closed.

So, which season of LOST did the readers select as their favorite? The writers strike shortened fourth.

It makes sense. The writers had a clear direction after "Through the Looking Glass" and ran with it. The entire season pushes forward with an ever-rising intensity, and the finale is brilliant. Two of the most beloved LOST episodes, "The Constant" and "The Economist", are smacked dab in the middle.

It's lean, but meaty. Not too short, not too fast. Season 4 will probably always be remembered as LOST as its best.

Season 3 was a photo-finish second place. Not much surprise there. The final stretch leading to "Through the Looking Glass" is as good as it gets and then the finale knocks you on your ass.

Season 1 and 5 both grabbed a couple votes. Glad to see some variety. Season 2, unsurprisingly, didn't get any love.