Bodies fly, heads explode, and video game logic reigns triumphant.
It’s doubled down on its intrigue to hastily evolve from a bland procedural with a nifty visual aesthetic into a solid action-thriller.
There isn’t a single interesting person in CBS’s dud-on-arrival Person of Interest.
This week’s episode would be nothing but cheese were it not for Michael Emerson.
Lost recognizes culture, particularly pop culture, as the primary means for understanding the world today.
Although possessing far less than a hatchful of extra features, this is still a DVD set you’d want to take with you to that proverbial desert isle.
Lost is a show fairly obsessed by notions of duality.
The episode plays less like an individual segment of the show and more like a long prelude to the two-hour finale.
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.
Father issues are to the Lost flashback what cancer is to a diagnosis on House.
Michael Emerson maybe has the trickiest part to play on Lost.
The constantly dilating timeline of Lost continually forces the viewer to recalibrate what they’ve already experienced.
One of the things that makes “Namaste” so much fun is the way it convolutes itself within the timeline we’ve already seen.
The structure of “Life and Death” is pretty predictable once you get into the swing of it.
For the first time this season, we feel completely stymied by Lost.
It almost feels silly to complain about how overstuffed an episode was when all of the stuff going into it was as compelling as what happened in “This Place Is Death.”
There’s a deal we make, we Lost fans and appreciators.
In so many ways, this latest episode is Lost at its best.
I suspect when all is said and done that the history of Lost will cleave it pretty neatly into two different shows.
With Lost’s fourth season running only eight episodes, any rescue looks unlikely.