Monday, December 18, 2006

The Lost Room--The Eye and the Prime Object

The Lost Room winds its way to a conclusion--sort of--showing us a bit more about the Objects, the underground cabals, and just what these people are willing to do to get their hands on these odd mystical items. But in the end, the origin of the Objects is left unexplained, as are several other plot points. I blame Sci Fi for not treating this as a miniseries per se, but as a possible kickstart to a weekly series. The trouble with that is that if the show doesn't get picked up, we're left with a story that has far too many loose ends. I have no idea what the ratings looked like, or if SciFi has any intention of continuing the story. It would have been nice for this to have been self-contained, though, rather than working so hard to build up a lot of intriguing questions, then leaving them unanswered just in case.

Miller and Kreutzfeld gather more information and a collection of objects--the clock, the scissors and the key--which together will open the vault where the Collectors hid several of the Objects forty years ago. The scissors, which cause things to rotate, seem fairly innocuous at first, until Miller gets his ass rotated out a window.

Miller and Kreutzfeld finally track down the vault, using Barbara Stritsky's Polaroids, then use the Objects to make their way inside it. It's here that Entertainment Weekly's comparison of the show to Riven started to really kick in for me. They have to figure out how to use each individual Object to make their way into the vault. I'm terrible at those games. This is about where I would have started Googling walkthroughs.

In the meantime, Jennifer determines Kreutzfeld is trying to duplicate the Conroy experiment, and thus is up to no good. This is, in fact, true. He abandons Miller in the vault. Fortunately Miller has the bus ticket and uses it to escape. Kreutzfeld is, indeed, trying to save his son, but the boy doesn't have leukemia--he's been dead for nine years. The only way to bring him back is by changing reality with the Objects.

While Kreutzfeld prepares his experiment, with the addition of the glass eye, Miller reunites with Wally (the earlier owner of the bus ticket) to track down the Occupant of Room Ten, assuming he's the Prime Object. A beef here--it didn't appear that the glass eye was used in the earlier experiment, so how and why did Kreutzfeld decide to use it here? Also, its powers weren't sufficiently explained. It can heal all damage to the user, but at the same time causes people to disintegrate. And the scene where Kreutzfeld prepares to implant it? Ewww.

In a strange subplot that doesn't seem to tie in elsewhere, Martin is dumped in the desert with the Gallup Polaroid. In it he sees a "vision" of the Occupant (possibly just a hallucination, because the Occupant looks just like Martin). When he is finally rescued, he tells Bridgewater and Margaret that he's now the Prophet of the Objects. It's not clear if something has really happened to him, or if he's just gone off his nut.

Miller finally tracks down the Occupant by finding a spot in the US where none of the Objects have ever been. Somehow the Occupant was ripped out of reality when the Objects came to be, and he himself was also turned into an Object. He tells Miller he can help retrieve Anna, and they head for the Sunshine Motel (actually referred to in this episode as Motel Sunshine), where Kreutzfeld's experiment is already underway. As the time rift comes into existence, the Occupant and Miller walk into the room. The Occupant tells Miller the only way to get Anna back is for Miller to kill him and become an Object himself. Miller is reluctant, but does so, and is reunited with Anna.

Overall, I found this miniseries interesting, though if I hadn't been blogging it I probably would have given up after the first installment. And the conclusion didn't really conclude, which I found disappointing. I understand why they did it that way, but I wish they'd chosen to go a different direction with this particular story. There was enough there to manage a satisfying ending and still leave elements available to spin into a weekly series, without leaving all the loose ends they did.