If history repeats itself first as tragedy, then as farce, what follows? In high school — high school, Scheuring — I got acquainted enough with Tom Stoppard’s 15-minute Hamlet to be thoroughly underwhelmed by last Friday night’s coda to the Prison break series finale. The 84-minute special felt a little something like Stoppard’s revision of Shakespeare, only, y’know, completely idiotic and entirely bereft of literary import: a full, season-worthy story arc of classic Prison break, replete with prisons, betrayals, thwarted moves, strange bedfellows and an anti-climactic escape. (That penultimate flashforward didn’t help your narrative cause, guys.)
There’s really not much to be said about the post-finale finale; it served principally (and gratuitously) to remind us of Scofield’s unqualified heroism. America loves few things more than a handsome, wrongly-persecuted, self-sacrificing genius.
— J.C. Freñán
I can’t figure out if I should direct my ire at scriptwriters or editors for a pox that is infecting contemporary television narrative: the Totally Gratuitous Flash-Forward. (I do think we can safely blame J.J. Abrams for popularizing chronological monkey business like this.) An episode begins with a visually or narratively provocative scene, the viewer is presumably overwhelmed by the totally banal question “How did we get here?” and suddenly we cut to a title screen that re-directs us some hours/days/weeks earlier in the story. The following is a running list of programs that have resorted to this lamest of storytelling devices.
Battlestar Galactica: season 1, episode 4 (no time elapse specified); season 2, episode 12 (“48 hours earlier”); season 2, episode 14 (“48 hours earlier”); season 2, episode 15 (“94 hours ago”); season 3, episode 3 (“1 hour earlier”). BSG is the worst offender, by far.
Breaking bad: pilot (“2 weeks earlier”); season 1, episode 2 (“12 hours earlier”). I’m otherwise enamored of this show, so it was disappointing to get two consecutive flash-forwards like this. Season 2 plays with this device a little in the pre-credits sequences, but for the most part it’s not over the top or obnoxious.
Capadocia: pilot (“16 horas antes”). (Was I really all that surprised? No. Not really.)
Damages: pilot (“Six months earlier”). They built the whole goddamn show on this device. WEAK.
Dollhouse: season 1, episode 9 (“12 hours earlier”).
Hustle: season 1, episode 3 (“1 week earlier”); season 3, episode 3 (“2 months earlier”); season 3, episode 4 (“a week earlier”).
Prison break: season 2, episode 3 (“12 hours earlier”); season 2, episode 15 (“six hours earlier”). (Must be Michael Scofield’s brain tumor keeping him from telling time properly.)
Shame should also be directed at the directors of Michael Clayton (“4 days earlier”) and The illusionist for resorting to the flash-forward. What is this, your seventh-grade Creative Writing class?
*ANY* fucking story becomes provocative when you cut a slice out the middle and show it first. Writers, editors: if you can’t figure out how to make a story compelling without dangling a little taste of what’s to come at the beginning, you’re in the wrong line of work. The flash-forward is NEVER A GOOD IDEA.