Dear Writers: I thought we discussed appeasement? Appeasement is not cool. In fact, it rather sucks. I will be a bit more clear after tomorrow's episode, but for the time being, let's recap: Appeasement is uncool. Capishe? -Alex
Dear writers: (in train to understand my message you will have to decoy it ) Thanks for Helenika (even if it is Plastic H) and for Stella's "οικογένεια" and for the "Chemical Industry" you are preparing Love you (now. Probably i will curse you tomorrow ) Debbs
Dear Writers: F/A is hot. We know. But we also know why you're giving us great F/A scenes, and it falls under the category of "preemptive appeasement". I know what happens in the finale. I don't need to feel worse about it, no matter how much I loved the scene in Prey. Still mad at you, Alex
Non dear writers: You are officially HORRENDOUS. It was just a kiss we needed. Was so much effort for you????? Why are you so selfish and cruel with the Smacked Family? No love forever Debbie
Dear writers, As I type this, I am drinking.... Be prepared for progressively more confusing rambling. I know you can do better, and you know you can do better. After all, CSI: NY started off spectacularly, and even since it began going downhill, there have been some gems. Please, for all of our sakes, find the inspiration to make this show shine again. Remember your skills, and the reasons you got into your jobs. Don't be content with substandard writing because it gets you ratings. You should always be trying to live up to your full potential. A work of literature is just as much art as is a painting, or a sculpture, or a song. To make great art, you have to put in a piece of yourself. You have to let your heart into it. Tossing together a bunch of random ideas because they're convenient, or because you think they might appeal to a wider audience, takes so much away from the product, and from the satisfaction you feel upon finishing it. Even worse is creating something good, and giving it to people, only to toss it away so you can put in something "more interesting." Your ability to rewrite something disappears the instant it's made available to the public. For example, Danny's family. In season 1, Danny mentioned that his family was often under surveillance; recently, you negated this by having him mention he came from a family of cops. I think the flaws are obvious, but I'll mention a couple anyway. 1) The lack of continuity. If we're told by Danny himself that his family was probably somewhat shady, we'll believe that, especially if that idea is reinforced by things that happen in the show. When you chose to disregard that, and give us completely contrary information, it felt like shoddy writing, carelessness, and disrespect for your audience's intelligence. 2) Laziness. The idea that Danny comes from a family of cops is just another one of the ways you are turning Carmine Giovinazzo's character into the actor himself. I have several examples, so we're going to have a list within a list here. -- Danny was wild once; he is now more tame. Although I'm certain that with age and experience come wisdom and maturity, Danny "came out of the box like an animal," and I (it seems mistakenly) expected him to retain a noticeable streak of the wildness even after his many trials and tribulations. -- Danny wore glasses; now he wears contacts. Carmine always wears contacts, too. I can't see that as a coincidence. -- Danny's entire apartment. I have neither the time nor the motivation to explain it all, but some notable points are his guitar and the oil painting (done by Carmine Giovinazzo!) hanging on his wall. -- It was heavily hinted that Danny was from Brooklyn... but, like Carmine Giovinazzo, he is supposedly from Staten Island. Now, Staten Island is by far the most suburban borough in all of New York City. Am I supposed to believe that Danny Messer, well-versed in seemingly all strange customs of New York, strangely familiar with Brooklyn tile, and affiliated with the Tanglewood Boys, is really from Staten Island? Really? I mean, sure, he could take a bus or a train to a plethora of places, or cross a bridge to get to Brooklyn, or cross any of three bridges to get to New Jersey, or take a ferry to Manhattan, or a crap load of other things, but... I just... ugh. There are so many other points I could hit upon, not just about Danny, but about everything, that it's not funny. Slightly tipsy (and probably going to get drunk), Sarah
Dear Writers, Put Adam in all the episodes! The rest of the main cast is always in every episode. Why not Adam? Don't leave him out! ~Yumi
LOL! Dear writers: More Adam, bring Kara back and get rid of DL. Can we live with it? Pretty, pretty please!
Dear TPTB, Do you watch these episodes in editing? If not, might I suggest a marathon of seasons 2,3,4,5? For example, You keep changing danny's apartment. As much as its great that you show him out of the lab, but it is not plausable to keep moving every few months! There are people that you can hire that look for these details in your episodes. Please hire them. Also, just because you showed us that at some point hawkes had a girlfriend and Adam spent the night with Kendall, does not mean that we will let you off the hook for not giving them a larger love interest. :evil: Back to my corner now.
Dear Writers: You clearly have no idea of how much I can whine. I know that the finale is already written and most likely filmed. That's fine. I just like warning people before I complain endlessly at them. Also, your continuity sucks, mostly surrounding Danny. Louie? Pool table? Glasses? Dog? -Alex
Dear Writers, I know I complain, but I really do love the show. And I love you for making the show exist. Now, if you wrote an episode where Adam and Hawkes had to team up with Flack (and Sid) to save the day while Mac, Stella, Danny and Lindsay were off on some other case (aka not around), I'd love you even more. Waiting for an episode all about the underutilized characters, Fay