“在这个世界将永远存在国防一些挫折，这是无奈的，你永远不能变”“护送花落颜色”

The weird island setting and its mysteries are crucial to "Lost," but its characters are even more important. (Imagine a John Locke who spoke in nothing but technobabble, or was played by a less compelling actor than Terry O'Quinn.) Fiennes is a fairly colorless lead, but there are some good actors around him (John Cho as his partner, Sonya Walger as his wife, Courtney B. Vance as his boss, and Dominic Monaghan from "Lost" joins the cast down the road). If Guggenheim can deepen the personalities and show how the flash escort girl guangzhou forward really impacted them, then they might have a show here. Because right now, there's an interesting idea, some good production values and a cool cliffhanger, and not much else.

"Dollhouse," meanwhile, comes from creator Joss Whedon, who's made a career out of turning awful-sounding ideas into great TV. (His signature series, after all, was called "Buffy the Vampire Slayer.") "Dollhouse" was arguably his silliest concept to date: a woman known as Echo (Eliza Dushku) who has her personality temporarily erased so she could be reprogrammed to be the world's best first date, or safecracker, or midwife for a series of wealthy and discerning clientele. But then the pace slows down, the characters get a chance to breathe and talk about what happened. And at that point, the only "Lost" comparison is to those episodes where Kate and Sawyer were locked up in the polar bear cages while Jack pouted over his grilled cheese sandwich.

Our hero is FBI agent Mark Benford (Joseph Fiennes), and after he gets back to headquarters, he and his fellow agents (including, in a jarring cameo, "Family Guy" creator/star Seth MacFarlane) sit around for what feels like 18 hours asking each other, "What did you see in your flash forward?" "Why, what did you see in your flash forward?" The title of the show is repeated so often in such a short span of time that I have to believe either Goyer and Braga get an extra residual check each time an actor says it aloud, or else they're trying to create the first drinking game of the new TV season. (Beware alcohol poisoning if you try.) By the episode's end, it's as if this world-shaking event was just another minor mystery to be solved by the FBI's LA field office, or even a party trick.

wyll1009ypj The pilot's second half reminds me very much of another Goyer/Braga-created series, CBS' "Threshold." That one also had a cool premise - aliens have already invaded Earth, and now we have to find them and figure out what they want - that had all the life sucked out of it by too many scenes of characters sitting around escort girl guangzhou explaining all of its many, many rules. (I swear, one episode actually opened with the lead explaining why she and the other heroes had to order lunch from a different restaurant every day, lest the aliens figure them out.) Braga has since moved on to be a producer on the next season of "24," and my hopes are somewhat raised by the choice of replacement: Marc Guggenheim, who not only has experience writing epic science fiction (he moonlights in superhero comics) but has been a producer for more human-scale dramas like "Brothers & Sisters" and "Eli Stone."
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