This episode was worth my time, I’ll tell you what.
This supposed idyll of an alternate 2004 will not, in fact, be a simple and tidy and happy all over place.
Easily the most “stylish” episode of the season, what with its longish takes and lowish angles, this Richard mythology is also not too great a reveal.
Sawyer episodes are usually a lot of fun because he usually gets into a lot of mischief.
This week’s episode would be nothing but cheese were it not for Michael Emerson.
Well, cool. There were some risks taken, some serious crazy, and some killings. Brutal fucking murders, even.
Of course Jack wouldn’t hurt Hurley. Lindlelof and Cuse don’t want to lose even more good will with their audience.
Unlike “The Constant,” it’s mostly a table-setting episode.
Hard not to feel let down after last week’s opener, sure, but hard to be surprised when “Kate” is in the title of the episode.
It’s all falling into place in a lot of fun ways, most particularly with this new Locke, or as I am going to call him from here on, Dark Locke, after his Man-in-Black heritage.
Everybody has a place, a role, a value. The trick—with people, with food, with films, with life—is selection; that is, to have good taste.
What’s troubling about this picture of education (as remembering) is that it sounds like nothing new was built, that to learn is not to create.
I am not alone, I am certain, in coming late to the Arnaud Desplechin party poised to jump off this winter.
Surprisingly, the audience was the most curious character of the weekend.
Where Does Your Hidden Smile Lie? builds something magical and immense from its miniature, material means.