This is a largely solemn affair, often verging on morbidity in its elongated deathwatch.
This is really nothing more than the story of girls running to and from their daddies, and no matter how you dress it up, it’s inherently retrograde.
Lost is a show fairly obsessed by notions of duality.
The more we get to know the people who are behind the scenes on Lost, the more we realize just how much our point-of-view characters are looking in on a battle they will never really understand.
Michael Emerson maybe has the trickiest part to play on Lost.
One of the more enervating things about Lost is the way that it will occasionally mistake name checking, say, a famous philosopher for depth.
The structure of “Life and Death” is pretty predictable once you get into the swing of it.
In so many ways, this latest episode is Lost at its best.
We open with a routine, but nonetheless very nicely produced, Weevil hunt.
The episode found the series playing around with form in provocative ways.
Week in, week out, Ugly Betty subjects its audience to the same recycled crisis.