Didn't that pre-date Drunk History?

You know, you'd think someone striding over and demanding answers would resonate with viewers.

I'm sorry, I really don't see it. It's two lines each in a large group scene at the end of the third episode, that focuses mostly on Locke, Claire, Charlie and Hurley. How much more gradual could it have been? Divorced of the meta-textual elements (i.e., pre-season press about two new characters), you'd think two…

Oh, no, I saw it. I was on TWoP at the time. I remember one person using one of Nikki's lines asking where Jack was as proof that Nikki was obsessed with Jack because she couldn't shut up about him. I really wondered if I was in the same reality as other people at that point.

The blowback just utterly boggles my mind, especially just after "Further Instructions". "THOSE PEOPLE WHO HAD, LIKE, TWO LINES EACH? WHAT THE FUCKING FUCK? WHERE THE FUCK DO THEY GET OFF SAYING ANYTHING? THEY SHOULD DIE IN SOME IRONIC BUT TORTUOUS WAY, LIKE BEING BURIED ALIVE OR SOMETHING."

I never bought the "Nikki and Paolo's introduction was forced" line of thought. Especially with the idea that someone (Locke) needs to take "leadership" at the camp. "The camp"— in terms of people who need to be "led", boils down to just Claire. With so many principles away from camp, a couple of "new-not-new"…

Like anyone's ever had a hard time touching Bai Ling.

I know what you mean. I finally realized it was one of those times where not getting exactly what they expected made people not notice that what they got was actually pretty good.

The early S3 flashbacks (up to and including "Tricia Tanaka is Dead") showed a lot of wheel spinning. Almost all of them took some throwaway line or other mention about someone's past and tried to make a whole story out of them (Kate being married, chicken shack hit by meteor, got tattoos in Phuket), when there is no…

You know, I think if you actually compared Heroes S1 with Lost S1 in terms of "questions raised" and "answered", it be pretty even. If you then compared both third seasons as to which was a more muddled mess, Heroes would win THAT in a landslide.

Well, the networks have now taken what used to be a bug in the system (that they'd schedule a break over the holidays and January to maximize new episodes for sweeps) and turned it into a feature (MID-SEASON FINALE!) And it's a thing that serialized shows can take best advantage of, knowing where that break will be.

See, that struck me as very organic for Kate. She was someone who had to make sure she was in control of the situation, and thus embedded herself into any plan that might exist so she would be in a position to take best advantage of it.

What I found so fascinating about the complaints during Season Two about the airing schedule was how people acted like it was totally this bizarre thing done to screw with them, and not the basic airing schedule of, like, every other show ever at the time.

On Island stuff is largely chess-piece moving, separating and uniting characters to physically but them where they're needed for the endgame… and little more.

Both are essentially, "Here are a bunch of answers", but along the lines of, "The answers to questions 14, 22 and 35 are all A." There was a strange need to tie mythological elements into the same event, which made things seem smaller instead of more connected.

The Temple really feels like a thing they felt obliged to do, rather than wanted to do.

I had the opposite effect with the Flash-Sideways. They felt decidedly less tedious when I understood what they were.

In my rewatch, I found Season Six a lot easier to watch than I feared. Knowing what the flash-sideways were and why they were important made a huge difference in my enjoyment, where in my initial viewing they felt like strange wastes of time.

So we know who should play Bender in the live action Futurama.

The closest thing they had to recognition of mother/son relationship was him making an embarrassed face while she was dancing.