In conjunction with the Museum of the Moving Image’s symposium on HBO’s The Wire, the museum commissioned a series of video essays for its online magazine.
Those looking for definitive answers from their television viewing have probably long given up on Lost.
“Greatest Hits” is the closest Lost has come to a perfect episode since its pilot.
Like the show’s viewers, Locke is justified in his cynicism, even after bearing witness to a seemingly paranormal event.
Sun and Jin’s entire relationship can be distilled down to maintaining appearances.
Lost doesn’t just name check the pop culture phenomena that have inspired and co-exist with it.
Another episode of Lost, another con artist in our midst.
A common knock against Lost is how much of a boy’s club the show is.
There’s nothing inherently wrong with the ad-hoc approach to long-form storytelling.
The episode wasn’t a total waste, as it did contain two genuinely shocking developments.
I’ve finally begun to sympathize with the show’s writers and producers.
There seems to be more Lost doubters than usual these days.
It was inevitable that after two consecutive strong outings, Lost would backslide into more familiar and frustrating territory.
The episode found the series playing around with form in provocative ways.
Apocalypto finds Mel Gibson working in the same nyuk-nyuk vein that’s sustained him for over 25 years.
Bobby is an overly earnest bit of hero worship buried amidst an especially pedestrian, multi-narrative melodrama.
The Fountain is both impossible to dismiss outright and, unfortunately, equally difficult to take seriously.