EPISODE GUIDE

.

001     Absolute Zero

002     Turnabout

003     The Incredible Derek

004     Something About Her

005     Paradise On Your Doorstep

006     The Spider Webb

007     A Rough Whimper Of Insanity

008     The Alpha Spike

009     You Really Got A Hold On Me

010     Father

011     An Enemy Within

012     Its Not Such A Wonderful Life

013     Contact

014     Heart Of Darkness

015     Forever Jung

016     Shine A Light On You

017     Stay Tuned

018     Hidden Agenda

019     Doppleganger

020     Through A Lens Darkly

021     Dark Side Of The Moon

022     Calaway

023     Zero Minus Ten

024     Marathon

025     Gemini

 

WHAT CREATOR LAWRENCE HERTZOG HAD TO SAY ABOUT SOME EPISODES

Something About Her

In the never ending search for a way to break Tom - a way to get him to cooperate - I began with the obvious: The losses: Fear, love, family and friends. But then there are the carrots or the gains. Will we "go over" for power, sex, love or money? In "Turnabout" Tom was certainly presented with the opportunity to "sell out." He could get his file and all the information he wanted if only he would "break the girl." Tom didn't go for it, though it appeared that that worked against him for awhile. His kindness boomeranged and he was congratulated by The Supervisor for his efforts. Ultimately, Tom escaped and Ellen - who did go along with the Powers That Be - paid the price. If only real life was like that. "Something About Her" began with the notion of just how far would we go for love. It's beginning to occur to The Powers That Be that Tom's not about to tumble when directly threatened. So what if they were to threaten someone he loved. But they're all gone now. That opened the question of "can love be created." And more so - if you were going to create love (in a heterosexual man) what buttons would you try and hit.

I began to think about "passionate, obsessive love." Have you ever felt that way about someone and not known why? Have you ever felt that you would just stop breathing if they left you? And have you ever wondered just why you felt that way - about that particular person? "Something" presses a lot of buttons in me. I've watched it with the editors and the sound mixers and there were a lot of "boy/girl" conversations going on. (Yes, lotsa women on our staff.) It's also a moody episode, with lotsa buttons and gadgets. I love the heavies (kind of a "Heckyll and Jeckyll" of "THEM"). As for the girl - well - been there done that. And almost didn't live to tell about it.


Paradise on Your Doorstep

I suppose I'll hear from "The Prisoner" fans about this one. Hard to see "New Phoenix" and not think about the Village. But there's something different here - The folks in New Phoenix are on Tom's side - or at least they claim to be. It opens some interesting questions about just what is our side and just who decides to be "on it." More importantly, I believe that the episode opens a fundamentally troublesome question: How often do we become the very thing that we oppose? And how easy is it to rationalize this behaviour because - when we're doing it, it's "okay" because it's well motivated (read "it's us").

We seem to be living in a day and age where "having a good reason" stands paramount above an individually moral and/or ethical point of view. All one apparently needs is to feel slighted, marred, injured or overlooked to justify almost any behaviour. It's not only possibly acceptable to pump shotgun rounds into your parents' heads, but, under the proper circumstances, it might be an act of political heroism. We get to rail against racism and sexism with no regard as to whether or not, in our cause, we are exhibiting the very behaviour that we speak to overthrow. In the midst of all this, a voice raised against the group-think will surely be considered a "troublemaker." It opens seriously the question of "sides" at all. In The Prisoner, there was often a question of "is it us or them." In "Paradise" we open the question, "what's the difference." Pre-emption Week Ramblings I guess we've all slipped into the void with Tom Veil this week; preemption is the television version of "erasure." I suspect, like Tom, those among us with character and perseverance will survive. This seems like an opportune moment to let everyone who checks in here know just what an extraordinary pleasure it's been to "connect" with people online and "discuss" Nowhere Man. Amidst the Network anxieties as the ratings roll in, amidst the pressures of production - my stint so far on the show has been nothing short of thoroughly satisfying and rewarding. It's true that my heart skips a beat now and then when someone(s) gets online and dumps on an episode or on a direction we've taken that they're not fond of.

Though we're not trying to please everyone, it is sometimes distressing to see people who liked the pilot become discouraged by an episode or episodes. If you are one of those people and you're here reading this page, I can only hope that you'll stick with us and "take the ride." I would like to think that we attract an audience among whom a "sense of wonder" is a large factor. (I am pleased and slightly surprised that the numbers are as large as they are. Perhaps there's hope yet.) But so far, so good. We are doing well and this "ramble" is just a long-winded "thank you." It's a thank you to all of you who have watched the show, enjoyed it, thrown things at the screen and/or written to me about your thoughts and feelings. I'm not sure that another network will give me the carte blanche to do another "dream show" and I've been revelling in the opportunity to share a lot of personal thoughts, fears and ideas with all of you. Like the tree falling in the forest, nothing created creates much of a sound without someone being there to "hear" it. The feedback lets me know that you're "out there" with me, listening and watching. (I'll try and yell "timber" first.) We're keeping our fingers crossed that Nowhere Man can make and hold the grade in the ratings classroom. If it does, there'll be more to come. If I've tickled your collective fancies, if I've stimulated your imagination, if I've made you ask some questions, I'm thrilled. Continuing to do so is the most eloquent "thank you" I can offer. I'm working on it. Happy pre-emption to all and to all a good void.


The Spider Webb

I suppose that Spider Webb could be considered our "free will" episode (you knew there had to be one). Actually it's a little bit of a few things, but free will is certainly high on the list. There's no doubt that there's a little insider tongue-in-cheek stuff going on in this episode as well. While we're hammering on Tom, we take a few cracks out ourselves. The idea originated when Joel Surnow, my Supervising Producer, was talking about ways to make Tom feel crazy.

One of his thoughts was that Tom awakes to see part of his life being played out on television. I found that too good to resist. It seemed as if there was an entire episode in that idea, not just a few seconds of screen time. We began to discuss the concept of how to "dishearten" people. What better way to dishearten a person, Tom in this case, than to indicate to them that whatever they do is trite and predictable. Tom is obviously convinced that if he preservers he can beat them. Perhaps a demonstration of power would humble and dishearten him. Perhaps showing him that all his moves are known beforehand will knock the wind out of his sails. Maybe he'll begin to appreciate the concept of "if you can't beat 'em, join 'em.  It poses an interesting dilemma for Tom. Tom's drive to find answers and to extricate himself from his problems does, indeed, make him predictable.

As Farley Granger suggested in "Strangers on a Train," having a motive creates problems. Given his current status, Tom has a "motive" and because he is driven to find answers, he has, to some degree, become predictable. So how does one deal with that? How can you persevere while "not acting like yourself?" How do you "turn away" from the path that you're on without giving up the fight? This is the stuff of Spider Webb - with a little "inside" humour thrown in. Richard Kind plays Max Webb. I can assure you that he bears absolutely no relationship to this author. Well, almost -


A Rough Whimper of Insanity

For some unknown reason, Tom's life has been unceremoniously erased, eradicated and eliminated. While Tom embarks on the search for the who, what and why, he crosses paths with many people. Some live their lives without question. Some have secrets. Some hold fears of darkness even greater than the ones that drive and possess Tom.

It seems apparent that in this age of depersonalization, computers must play a large part. We spend a great deal of time working, playing, interacting and even falling in love in the world of cyberspace. Computers can serve as a useful tool in our lives or, in some cases, they can become our lives. Gaining access not only to the world of cyber-information, but to a genius "hacker," could prove quite useful to Tom Veil. Since his thorough erasure might somehow have been achieved through the use of computers, it stands to reason that a computer might prove to be the pathway to an answer. But for Scott Hansen, our young hacker-genius, the computer has replaced all human interaction. He has not been out of the house in years. His contact with humanity is limited to online and virtual experiences. In effect, he has chosen the very life that Tom is trying to shake. While Scott uses his computers to retreat, Tom sees them as a possible entrance; a way to rejoin the world. These paths converge and collide in "A Rough Whimper of Insanity." The results are virtually devastating.


The Alpha Spike

"Those who can - do. Those who can't - teach. Those who can't teach - teach gym and those who can't do anything - taught at my school." The above is a close approximation of a line from "Annie Hall." It's also a dead-on description of my experience in the public school system in Teaneck, New Jersey. From the moment my parents decided that I should be "properly schooled" (and this started with pre-school) my "education" began.

I'm reasonably sure that by the end of the fifth or six grade I had a fairly good grasp on reading, writing and 'rithmitic. Had it been taught to the tune of a hickory stick, it might have been a more pleasant experience. I'm not sure what a hickory stick is for, other than rapping students across the knuckles, but it has a quaint and charming sound to it. (Sorta like a "Slim Jim".) But beyond the "three R" basics, I have to shudder when I consider just what it was that I was being "educated" to do. In no particular order:
Shut up
Sit down
Stop daydreaming
Shut up
Don't think
Don't question anything that a teacher tells you
Obey
Follow the rules
Conform
"Average" is excellent
Excellent is "trouble making"
Shut up

The list could be longer, but I write these "tidbits" pretty much "on-the-fly" and, frankly, don't have enough time to do them justice. As I was noting the items above, it occurred to me that I was fortunate that during my Junior High School years, miniskirts were the fashion of the day. It helped me in two ways: First, I now knew there had to be a God. And two, it gave me something to think about between 8:30 and 3:00. (It's been 27 years since I left school and some things never change.) By the time I reached the ripe, mature age of 16 - I bailed. No, let me rephrase that. I rocketed, high-tailed it, got my butt out of there as fast as I could. (For the record, I did do a seven month stint at New York University just to prove something to my folks. Having proved it to myself, I stepped away from the world of academics forever.) Given my ramblings above, it should come as no surprise that I would want to fire a few return shots. The fiction of "Alpha Spike" suggests that Sperling Academy is using mind control techniques; an attempt to brainwash students into groupthink. The effective end result would be a highly controlled population where individuality is condemned and where "rising to mediocrity" is the order of the day. But, of course, this is just a television show and something from a writer's imagination.
Next week ----


You Really Got A Hold On Me

My highschool girlfriend took the same bus, along with a dozen other students, five days a week, throughout the school year. One day, at the tail end of a snowstorm, the bus was late to pick them up. The student passengers got to school a half hour late. They were immediately called on the carpet by the principal and marched to the auditorium where they were asked to write down their explanations of why they failed to be prompt. Twelve simply wrote: "The bus was late." One, my girlfriend Ellen, wrote - "I overslept, it was my fault, I'm sorry it won't happen again." After thumbing through all thirteen responses, the principal looked up and announced, "It's nice to see that at least one person in this room is willing to tell the truth."

The outcome of the O.J. trial has stirred up a lot of emotion. Cochran's appeal to acquit O.J. and "make a statement" about the racial issues in this country have inflamed a large number of Americans. People have expressed outrage that a man should be acquitted based on anything other than the facts. The newspapers, television shows and radio talk shows are full of people who express outrage at this kind of "group think." Guilt is guilt, they feel, and that's simply that. To protest this simple thought, women's groups in L.A. organized to protest. O.J. shouldn't represent African Americans in this affair but, instead, Nicole should represent battered women everywhere. Some of these women's groups have supported women who kill their husbands because their husbands have battered them.

A Los Angeles talk radio show host invited callers to comment on story about a man who, after discovering that his teenage daughter had been molested by some neighbours, loaded his gun and shot both people in the back. For an hour, the comments included -- "give 'em a medal." "They're heroes." "Atta boy." "It's about time."

Lyle and Eric Menendez have confessed to the murder of their parents. But they have an explanation. They're "abused children." Their defence was not "insanity" due to the crimes inflicted upon them, but "self defence" in that "they just couldn't deal with it any longer." Find that the brothers were members of the family of "abused minorities" a jury was unable to convict them.


Father

*****************PRE-EMPTED BY THEM*****************


The Enemy Within

I like Tom Veil. Obviously, having pulled him from my psyche, he and I are, indeed, related in many ways (though I'm forced to admit that he's cuter than anything my psyche could've dreamed up). When I first discussed the idea of the series with Michael Sullivan, President of UPN, he posed a couple of provocative questions. "Is Tom the 'perfect' hero, being 'humbled' by 'Them?'" or "Is Tom the imperfect human being who needs these life lessons to 'grow?'" Not the talk of conspiracies and breaking glass, but a conversation about just who Tom is and why he might be being put through this experience. There's no doubt in my mind that Tom possesses heroic qualities. Despite evidence to the contrary and a battering, the likes of which most of us have never experienced, Tom persists in holding on to what he believes. He clings tenaciously to his identity and to the belief that he will and can, someday, prevail. He has been given the opportunity to "fold" or to "cash in his cards" and go home, but he has refused the deal. Even Gus pointed out to him that "You [can] go home an empty man, but you do go home."

Tom's courage and his fortitude are part and parcel of the reason that I admire him so much. But it raises a question. Is there a downside to this kind of drive and commitment? Can this type of "perseverance" be indicative of a character flaw? On first look, it might appear that "The Enemy Within" is a sweet, pastoral withdrawal from the usual "Nowhere Mania." It's true that "Them" makes an appearance in their most benign form here (a corporate farming conglomerate) but they have no interest in Tom this week, nor do they even seem to know where he is. That said, Tom is given an opportunity to "give up the fight" and "rejoin the human race." (I suppose one could argue that "they're out there and would find him eventually" but -- .) Given the world that's been created for Tom in this episode it becomes interesting to speculate on just how Tom will handle the situation. I doubt many of us will wonder for long. Ironically, Gus ("You Really Got A Hold On Me") warned Tom that eventually, "all you end up living for is the game." Is this already true for Tom? When Tom complains to Emily that his whole life has been lost, she responds, "people lose things - they recover - they go on - yesterday is where it belongs." But can Tom "give up the game?" He has ample reason to believe that Alyson and the life he left behind are gone. And now, he's got the very real possibility of a new one staring him in the face. I'm not sure that we've answered the question (I'm not sure that I know the answer) but it seemed like one worth asking.

Is Tom's incredible determination, in part, a flaw in his character? Should he consider "giving up the game?" Should he consider a new life? Can he? And, finally, is this component of Tom's personality somehow partly responsible for why Tom is in this predicament in the first place? While "The Enemy Within" appears to be a soft, gentle "departure" show, I hope that we successfully posed these issues. I believe that we did and I also believe that it poses questions worth thinking about. Hoping that I survive "Them" for another week ---


It's Not Such a Wonderful Life

Since Nowhere Man will air no new episodes in December, this week becomes our Christmas episode and the last of the "old" year. It seems (mixed in there with Turkey day) a good time for me to say "thanks."

Nowhere Man began, extraordinarily, when Mike Sullivan, President of UPN, sat across from me and asked, "If you could do anything you wanted to do - what would you do?" It took a little while, but I came up with "Nowhere Man." Mike simply said, "do it." How or why I was deserving of this treatment, I'll never know. But there it was. What at first seemed exciting became something of a "charge." Though I doubt that Mike intended it, his "do it" had quickly become "put your money where your mouth is." I wouldn't have the Network (or anyone else) to blame on this pilot. In short, it was "all mine." Well, we came, we saw and we - er, semi-conquered?

Whatever the fate or fortune of Nowhere Man, it began as a labour of love and, as in most relationships, there are times when the labour has outshined the love. But we're in therapy and we're "working on it."

Perhaps the most rewarding part of the entire "Nowhere Man" experience has been the opportunity to interact with the small "core" audience who come online to praise, question, and even jeer the show. Though there are few consistencies among the posters, it certainly appears that the "NOWHERE MANiacs" out there are a bright and literate bunch. What's rewarding, however, goes way beyond the blurbs, the barbs, the jokes, the questions and the comments. I have been writing for television for almost 20 years now (yikes!) and have never been asked to "do what [I] want." Having done that now for almost 13 episodes, heart in mouth, liver in - who-knows-where? - the support and feedback from the online community have been nothing short of "life's blood."

For those who've compared the show favourably to "The Prisoner" and/or "The Twilight Zone," I thank you. I consider those comparisons a major compliment (and will never believe that they are deserved - but I'm working on it). For those who are "intrigued," "hooked" and in the "wouldn't miss it" category - again, thank you.

To know that, in some way, I was able to take Mike's charge and run with it - that I have communicated something to someone - is tremendously gratifying. To further know that we have managed (at least through the first 13) to get episodes on television that are actually about something is - mind-blowing, to say the least.

Whatever the fate of "Nowhere Man," it has been worth the countless episodes of "Hart to Hart(s)" and "Hardcastle and McCormick(s)" to get here. I've had a chance to do something that was meaningful to me and to come online and talk about it with those on the "receiving end." When it comes to the Holidays - I've already received and unwrapped my best and biggest present - our online conversations. For the ones passed and the ones to come, I can't thank you enough. In return, I will fight the fight as long as it's "fightable" to keep "Nowhere Man" on its toes. That said, I wish all of you Happy, Healthy and "Them-free" Holidays. And you can be sure, when I count my blessings, you'll all be among them. Larry


Contact/ Heart of Darkness/ Forever Jung/ Shine a light on you/ Stay tuned/ Hidden Agenda

Sorry it's been so long. The daily bouts with "Them" get more ferocious on a daily basis. But survival is the job at hand and I try to take a lesson or two from Tom. We're approaching the end of the "Palmtop" arc with "Stay Tuned." The palmtop will figure in a few more episodes but it will take us into more familiar "Nowhere Man" territory. I've followed with interest the comments on the mailing list and the newsgroups. Opinions are certainly divided -- not just about the arc itself, but about individual episodes within the arc. Our responsibilities are fairly broad ranged. While we owe the audience the best show we know how to produce, we owe the network and the studio the best ratings that they believe we can produce. There's not always agreement on the way to accomplish that -- but we struggle together to find an answer.

After all a good show that gets cancelled isn't nearly as much fun as a good show that attempts to reach a wider (or wider) audience. I feel that UPN's expectations are realistic. Once again, it's just the "how to get there." I'm not even sure that we disagree -- it's just that there are a lot of communications breakdowns in the midst of daily panics. Hopefully, we will come to conclusions that satisfy the widest audience. It won't come as a shock to any of the more "experienced" viewers that "Stay Tuned" owes some of its heritage to "The General" ep of The Prisoner and something to the film, "Looker." (Ironically, the ep was conceived before the similarities were noted.) On the other hand, the topic of mind control is nothing new to Nowhere Man and the palmtop arc has shed some light on some of the "extracurricular activities" of "Them." A few other "clues" are peppered in for extra spice. In some ways, though, "Stay Tuned" is as much a look at the kind of world some people desire than it is a look at mind control. Do we really want everyone to be happy, jovial? Do we want our kids to be model citizens who repeat what adults tell them? Is the good natured slap on the back always the desired goal? There are the more obvious slaps -- at the media -- at "Them" control (government, corporate, groupthink, etc.) but there's probably some tongue in cheek that make it worthwhile. Darby, New York, reminds me somewhat of the towns I watched on television as I was growing up. "Father Knows Best" families -- the Cleavers next door. It's a Norman Rockwell world that we're all supposed to desire -- and yet ---.

This also seems a good time to acknowledge (at least in general) the work that's gone into this show beyond the producer/writer department. The crew in Portland has been rained on, snowed on, flooded, bruised and beaten. They have had to produce what I think is one of the better-looking shows on television at a breakneck pace. From our director of photography, our production designer to the folks who keep them warm with coffee -- the cast and crew of Nowhere Man have been nothing short of miraculous. It's a true case of the "Right Stuff" and these folks have it in plenty. Bruce has endured a schedule that would kill most people and he's done it with good nature and lots of talent. Our guest stars and the local Portland casts have done a solid job and beyond. The folks at Disney have been hard on us, but generous. They've endured some budgets that, in their opinion, were way out of line. But they persevered and -- mostly -- gave in. All in all -- episodic television being the day-to-day war that it is -- Nowhere Man has had some real highlights. We will continue to push for more and try to get the most out of everyone. The fact that we get to share it all with our friends online helps to make it all the more worthwhile.
Until next time ---

As some of you know (and some of you don't) keeping Nowhere Man on track has been a bit of a job. What started as "do the show you want to do" has quickly become a game of feet scuffling and second guessing. Considering the nature of the show, it's been an interesting ride all around. Starting with "Heart of Darkness" and running through most of February, we are airing our "Palmtop" shows. If you missed "Contact," Tom has been given a palmtop computer containing all sorts of information about "Them." This gives him a chance to be more "active," in network parlance. I'll be curious to see how everyone reacts to this "arc" of the show, though I must say while walking down that road, I longed for the Nowhere Man of yore. Either way, like it or hate it, it's just a phase we're going through. As we hit "Stay Tuned" we'll be filtering back toward old ways. By the time "Hidden Agenda" comes up, we'll have some major bombs to drop that should make it all worthwhile. After that, we're back to normal, whatever that might be for Nowhere Man. All I can say is that there are a number of "camps" out there. Some folks really relish the "active Tom." Others, like me, prefer the more existential dilemmas. Either way, hang in there -- I'm sure I'll be hearing opinions. Onward and upward --


Through A Lens Darkly

From very early on, the concept of a "house of mirrors," or a "house of intrigues" was on the drawing board. It had been discussed in many forms, including the fabulous episode of The Avengers, "The House that Jack Built."

When I finally sat down with Art Monterastelli to hammer out the details, "Through A Lens Darkly" really came to life. I had been very pleased with "The Enemy Within" (also directed by Ian Toynton) which took a closer look at what might be part of Tom's weakness. In TALD, we've looked even deeper into Tom and what drives him and what, in fact, may be part of the reason he's been "chosen." Any hero worth identifying with should fall some notches below the "perfect" mark. Tom's vulnerability, his anger and frustration makes him, to me at least, a really solid fellow. In TALD we get a look at Tom's "obsession," something that apparently began when he was very young. I'm not completely sure just what it says about Tom but threaded throughout the ep we get to watch Tom's inclination to"observe from a distance."

There's something to be said for the "observers" of life -- someone needs to stand back far enough when the madness of being "too close" gets out of hand. But there's a price to pay for that distance, for holding back to observe. To some degree, TALD explores this in some very intimate and personal detail. I can also tell you that this is one of my very favourite episodes. In many ways, I'm as fond of it as I am of the pilot. I find it interesting that three of my favorite eps have been the most stormy with the network. (The other two being "Something About Her" "Doppleganger.") I'm not sure what that means, but this is, IMHO, one formidable, wowser of an episode. Beyond some of Art's wonderful scenes, a lot of credit has to go to Ian Toynton, Jim Chressanthis (our DP, who has been spectacular from the point he joined us at show 5) and our actors, particularly Sydney Walsh and Sam Anderson. All in all, a "don't miss." I hope you agree. Larry


Dark Side of the Moon

I guess the network didn't like this one too much. It's the only reason I can figure that it's been pushed back so far in the schedule. It was actually made among the first twelve or thirteen. This episode should come with a warning, however. It is a bit "off-the-beaten-Nowhere-Man-track." Where most of the eps have been somewhat "internal" in nature, "Dark Side" is very external. It's also quite violent. If you tend toward the squeamish when it comes to violence (not graphical blood and guts) you should be forewarned. We cut down a lot of it during the editorial process but what's left is still pretty rough. I believe, though, that "Dark Side" has a rightful spot in the Nowhere Man archives. There's a theme (or a tone) throughout the series that this world is not the easiest to survive in; particularly if you desire to maintain your identity and the elements of integrity that are supposed to go with that. But there are external difficulties in this world as well as internal and in "Darkside" Tom finds himself between colliding forces of violence and evil. When David Ehrman first asked the question: "What would happen if Tom got mugged and a petty thief inadvertently got his to set the episode in "Hell;" a particular Nowhere Man kind of hell.

James Whitmore, Jr. ("Something About Her") did a wonderful job, as did our DP, Jim Chressanthus, creating this world from out of the tangled urban night. It is a world with its own logic and its own set of rules. Tom, as many people note, "isn't from around here" and either has to learn the "lay of the land" or die trying. It's interesting to wonder -- after Tiny steals Tom's carryall -- whether or not Tom's pursuit of the man is more to get his belongings back or to warn him of what awaits. It would be somewhat unrealistic to portray one man's battle against "Them" without showing the violence in the world that "Them" is capable of. After all, when the allegories have subsided, we still live in a world where people kill each other to get what they want (or suppress what they don't). On the other hand, I've never been sure that emotional violence isn't equally, if not more, damaging than physical violence. (In this respect the physical violence can be yet another allegory.)

This ep didn't garner much enthusiasm from the Nowhere Man Powers That Be. I like it. If for no other reason than the fact that it's somewhat different, I think it creates a mood so intensely and holds it so effectively that I can appreciate the departure. It's also always interesting to come across the occasional, voluntary "Nowhere Man." In this case, the "Man" is Margo, a sixteen year old girl. While Tom desperately fights to find a way back home, Margo feels that "any place is better than home." Perhaps she has to encounter a man in Tom's condition to better assess her own situation. All in all, a dark, tough, intense ep. Not a lot of hidden agendas here -- it's pretty much what-you-see-is-what-you-get. As always, I look forward to reactions. Th--th--that's all folks. Larry


OTHER QUESTIONS FOR LARRY

Well, we're almost through with the first 13 (we've aired 12 including the pilot) but since we're in the "holiday break" I thought it'd be a good time to post some mid-season thoughts. If you've read my "thoughts" on the WEB SITE, you certainly know how much all our interaction means to me. I think the "Family," the "Nowhere MANiacs" are all a bright, opinionated bunch. One of my favorite aspects of this experience has to do with "clue-following ." Despite the gazillion times that I've said that NwM is not a clue show, people persist in digging and digging. I love that. It reminds me of a true story that happened shortly after the Pope had de-canonized a number of Saints. I think this was back in the early 70's. Among the no-longer-sainted was St. Christopher, patron saint of travel. A cousin of mine hopped into a New York City taxi where the driver, obviously a practising Catholic, had a St. Christopher statue on his dashboard (not uncommon).

My cousin, Doug, decided to "take him on." He pointed out to the cabbie that St. Christopher had been de-canonized and asked if having him on the dashboard wasn't a conflict. The cabbie looked at him, determined to cling onto *all* his beliefs and said, "Yeah, I know. I just call him MISTER Christopher." I've read, with interest (and a smile) comments on everything in the show. I won't bust the bubble but let me point out a few things. Episodic television, even at its best, is chaos. Scripts are "eaten" by the production company at the rate of one every seven days. It's gruelling. In the case of NwM, our post-production schedule has been equally tumultuous. In short, with the many things that *are* planned - a lot of things "just happen." I may be watching a scene while we're editing and say to my associate producer, "hey we could use a peek at that file that Tom's holding." She sends out our 2nd unit director to pick up shots. He often calls me and asks for details, but they're usually cursory, style points at best. He then puts his "crew" together and has a prop man make up props. None of these people "are in the know" about the "mystery" behind NwM. It therefore is entertaining to watch people come on line and tell the world how they've freeze framed this "insert" and "here's what we know." Please - like the cabbie - don't stop. It's far too much fun, I think, for all of us.

In keeping with the sentiments above -- it has to be said that not all directors are created equally. You'd be shocked to know how often we have people up in Portland, behind the lens, who just don't get it on the most basic levels. So, something tremendously *wrong* appears on film and then is subject to this level of introspective analyses.

Often what some have interpreted as a major clue, is merely a director's mistake (or lack of talent).

Following that, I've had a number of e-mails (a huge number) from people who are just "getting fed up with this show." "How can I go on without some clues." ETC. Considering all the above, this is always interesting to me.

There's a group that finds clues in the pauses between words and there's a group that's "had it" with me because there are noclues. Well, of course, there are clues. They're subtle (and have been registered and commented upon by many) but they're there. But mainly, I've asked some of these "I've had its" how they can be sure that they're not getting clues when they don't know the answers? (When people get outraged, "why did they just let him go! This show doesn't make sense!" Again, how do you know until you know what's going on?)

I've taken it upon myself to intercept this latter group as "the frustrated." Well, hop on folks. In part, NwM is a show about being stymied, played with , manipulated and f***** over. It's a show about what it takes to survive in a world as an individual, etc., etc. I guess it's not for everyone. The XMAS show has kicked up a lot of controversy (and that's a good thing). Some people think it was a "rip-off" some don't. First, it was a little bit of a "joke" to and for myself and a Christmas present to the "we want answers group." There's been a lot of speculation about the "history" of this show. A lot of people think that UPN interfered here and that it once was the "real" ending , etc. Not even close. UPN had nothing to do with it. It was never planned as anything other than it was. A Christmas present to Tom and the audience, inevitably showing them just what and where that present will get them. I've seen some comparisons to the Prisoner episode, "Many Happy Returns" and that, I believe, is fair.

Someone commented that, "at least MHR was about something." Well, maybe we didn't communicate it, maybe we did - but I think that "...Wonderful Life" was about something, too (even beyond the questions it opens up about Alyson and Mom). I think it's about women and men on a lot of levels. I think there are times when someone of our same sex could never illicit the second and third chances that we give to the opposite sex. If a girlfriend slammed a girlfriend against a wall on any regular basis, I doubt that she could use "I love you" as the buy-it-all-off routine. But men do it all the time. Same with men -- if a male friend betrayed trust in a big way - they'd have an almost impossible time earning it back. But sex and the need for intimacy is a big lure. It takes what might seem impossible (a woman staying with an abusive man - Tom reinstating his trust for Alyson) and makes it likely.

The show also goes to the heart of Tom's trust. With everything "They" did. With the elaborate ruses that were set up. Even with Alyson's seduction and mom's tearful entreaty -- Tom still didn't trust it enough to leave the negs in his bag. (Shades of Gus?). Who is Tom? Will he ever trust? Did he trust before this all happened? Does it have something to do with why he's in this mess to begin with? I've had people say, "well that's it for Alyson," no more. But I remind them that that was said hundreds of times after the pilot. Once she was seen laughing with Dr. Bellamy it was "history" for Mrs. Veil. I believe it's easy enough to see a scenario in which the "Veil family" was drugged by Roy's fruitcake, Alyson and mom were nabbed, Alyson forced to write on the card, and the place ransacked. Can we really never believe Alyson again? In any case - what are clues, what aren't clues and what the series is about has changed very little since its inception. This   newsgroups appears to be the place to come to discuss all of those nuances. Each theory, each jab, each complaint and each hooray is a wonder and a joy to behold. Don't let the holiday "hiatus" slow you down. I'll be here and I hope you guys'll be here too. It's a good time to start watching those old eps on video in slo-mo, looking for answers. Gotta go, someone just dropped some glasses in my kitchen. Larry

 

 

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