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I know that in some other discussion I've posted my opinion of this Showtime series and Abel Korzeniowski's music for it (which has grown on me over the weeks since the series premiered). And while I've been enjoying it, tonight, when I got around to watching the most recent episode (from Sunday), I became so annoyed by it that I stopped watching it about 45 minutes into it and not only deleted it but removed the series from future recordings of my DVR. The entire episode is an unpleasant flashback that seemed to go on and on until I couldn't take it any longer. Folks, you lost me with that episode!
Follow-Up: I've been convinced to give it another try!
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I know that in some other discussion I've posted my opinion of this Showtime series and Abel Korzeniowski's music for it (which has grown on me over the weeks since the series premiered). And while I've been enjoying it, tonight, when I got around to watching the most recent episode (from Sunday), I became so annoyed by it that I stopped watching it about 45 minutes into it and not only deleted it but removed the series from future recordings of my DVR. The entire episode is an unpleasant flashback that seemed to go on and on until I couldn't take it any longer. Folks, you lost me with that episode!
I love the show and if the Flashback scene is the one I'm thinking of it's one of the best scored moments I've heard in awhile.
Great show and the music is nothing outstanding.
Ford A. Thaxton
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Ford:
My comment was about the series itself and not about the music, although I did mention that I liked the music. But the latest episode was entirely flashback with Timothy Dalton made up to look much younger, and the female lead goes cuckoo -- and there are flashbacks within the flashback of the entire episode, going back to when the female lead was a young girl whose best friend was Dalton's daughter. Yes, I angrily turned it off with about 5 or 10 minutes to go, but it seemed like it wasn't going to be going forward to the time of the principal story (with Frankenstein and Dorian Gray and all the others), and I had had quite enough of it. I was surprised, because I had been fairly engrossed in the series up until that episode.
Incidentally, if the going cuckoo part WASN'T a flashback, then I must have gotten lost watching it -- sure looked to me like Timothy Dalton was made up to look much younger in that part too.
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Wedge: Re: Ford, the cue I'm referring to is actually from the framing sequence -- at the end, when Vanessa is wrapping up the letter and adding it to the box. Lovely cue, and I hope it's on the eventual soundtrack album. (And I'll be sorely disappointed if there isn't one!)
Devoting an entire episode to flashback (except for brief framing scenes) was a bold move, but unlike Ron I think it paid off here. It shed valuable light on things we'd been only been given glimpses of throughout episodes 1-4, and in those final minutes (that Ron didn't watch) it gave us a vital piece of information about Vanessa's motives and intentions as the quest moves forward. The episode's final image and voiceover are quite potent in a way that would have been diminished, in my opinion, had the flashback been abbreviated or intercut with other plotlines. Per Ron, it's clear this sort of novelistic digression is not for everyone. I am only the arbiter of my own taste ... and I'm the sort of person who reads unabridged Victor Hugo. 
Well, you've convinced me to set the DVR to catch it again, particularly the final minutes. But I found it soooooooooo maddening that I became quite annoyed with it, and it was the first time I had felt that way about it since the series premiered. Frankly, it gave me no pleasure to abruptly give up on it, so I'll report back if I have a different reaction to it. Thanks.
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dp
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eriknelson: In reply to the xxxxxxxxxxxxxxxx above, Frankenstein's original monster, whom we hadn't seen before, has been such a pain in the ass ever since he made his startling appearance, killing off a character most of us liked, and now another one, and as much as we can't stand him, he continues to provide unexpected fireworks. I keep expecting Frankenstein to take Josh Hartnett's dying girlfriend and turn HER into the bride of his monster.
Incidentally, in the most recent episode last night, momentarily forgetting that Abel Korzeniowski had written the music, during a quiet moment I found myself thinking that I was hearing something that could have been on the "A Single Man" soundtrack, then almost immediately remembered who wrote the music I was hearing. It's not unusual for composers to write in their own familiar style, and Bach and Beethoven and Mahler sometimes did it too, just as John Barry's scores were occasionally almost interchangeable, and the same for Stephen Sondheim's many shows.
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