Good call. That issue and the next contain some of the most realistic depictions of grief in any medium ever.

And-and even though it wasn't technically a "death scene" because he turned up alive the following season, Sun's reaction when she sees the freighter blow up with Jin on it is harrowing.

Nate's death was amazing-entering through "Nate's dream", exiting through "David's dream", and the look of hopelessness on Michael C. Hall's face as he realizes his brother is gone and the scene just fades out. Good stuff.

Libby's death really got to me, not because Libby was such a great character or that I ever believed her romance with Hurley, but because of that panicked look in her eyes when she realizes that she just doesn't have the strength to tell them that Michael shot her. That's a fucking brutal last moment there-imagine…

Frank Sobotka's long, slow march to the inevitable was horrifying, and Wallace set the merciless "anything goes" tone for the show, but I think D'Angelo's death unsettled me the most. It was just so vivid and random.

Metal Gear, you forgot to add "A-" -Noel Murray, AV Club

To be fair, I'm pretty sure "O.C. with guns" is how this show was pitched.

DC, you'd be my hero forever if you started going 'DUHH, DUUUUUYHH" all over the Huffington Post message boards.

Lone Audience,
Jack's leap of faith is definitely an intentional mirror of Sawyer's jump out of the copter in Season Four-a moment that may have been thematically more important that I realized at the time. Consider their respective character arcs after that jump.
Sawyer's sacrifice led to him jumping around in time,…

Doesn't NBC have the same sort of intellectual property rights locked up on Conan's skits that they did with Letterman's back in '93?
Meaning we may not see the Maturbating Bear, but the Onanist Grizzly.

Missed opportunity tonight: When Sayid and Des share that look, Desmond totally should have said, "…You?"

To be fair, I'd rather have people know I'd jerked off to Kathy Ireland than know I'd listened to Chinese Democracy.

"Sometimes when you win, you really lose. And sometimes when you lose, you really win. And sometimes when you win or lose, you actually tie and sometimes when you tie, you actually win or lose. Winning or losing is all one organic globule, from which one extracts what one needs."

Six Feet Under is a decent example of that. The writing could be obvious and pretentious, but the performances (usually) kept the show grounded.

The mini-season's not bad at all, aside from the horrible Eko episode. The stretch that really kills Season Three is the "Enter 77", "Par Avion" section. They were really spinning their wheels there.
Season Three doesn't really pick up steam until "The Brig", but the rest of the season is incredible (and almost every…

My understanding is that one of the reasons Ben's become so central to the overall plot is that they plugged him into the role Eko was to play as Locke's counterpart.
Plus, yes, Emerson rules.

For all the "Starbuck was an angel?" anger, I don't think enough attention gets paid to just how awful the Temple vision nonsense was.
Four main characters have been having the same vision for three seasons that ultimately revolves around Baltar giving a hokey speech that stops the fighting for all of 30 seconds? Fuck…

A quick top 10:

But Billy Pilgrim is remembering his past in that scene, not the future. The barber shop quartet remind him of four guards witnessing the aftermath of the Dresden bombing.

I don't think Noels' too critical of the show at all. Like all of us fans, he's an apologist for some of the goofier elements, while being skeptical about the things that glaringly ring false.