What to say if you liked it
A fascinating rummage through the plots, characters and genius of the best drama of the past decade.
What to say if you didn’t like it
A rotting, moribund crutch to help support a wizened, derivative drama that’s sure to be the talk of dinner parties around the country, as voices drained of all humanity discuss the divergent plotlines with insincerity and blind arrogance.
What was good about it?
• The excerpts from future episodes such as when the survivors discover a steel floor deep in the jungle. Can they get the hatch open? And if they can, where does it lead?
What was bad about it?
• Because the show is merely a supplement to Lost, very little of any worth is expounded. The writer/producers give meagre details of future twists and turns because they are Lost’s very lifeblood.
• The cast do their best to elucidate the shadowed areas of their characters, but much of it was already revealed in the first three episodes.
• While Lost does have a distinctive quality, it is still very conventional and staid compared to Twin Peaks, and even Doctor Who. But the agenda here seemed
to be to exaggerate those elements of Lost which make it aloof from the highly conservative US dramas like CSI and 24. “With a budget of $5m the pilot episode is
the most expensive piece of TV ever made,” gushed TV critic Kristan Veitch. But, so what? Manchester United splashed about $10m on Kleberson, making him the most expensive Brazilian import into English football, and he was rubbish.
• “You will never look at turbulence the same after this show,” warned another clone US TV critic gleefully. Normally, this would have been awfully trite hyperbole, but being broadcast on a day when 121 people died in a plane crash in Greece, it becomes
extremely crass. And while we’re on the subject; it was interesting that the show wasn’t cancelled as “a mark of respect” to the victims of that crash. But of course, TV shows are only ever cancelled “as a mark of respect” when those who perished speak English.
• The belief that Lost is somehow groundbreaking in indulging in the taboo topic of plane crashes, which have been extinct in TV and film since the attack on the World Trade Center. Certainly there is still an understandable sensitivity in US to the catastrophe, but elsewhere the world has largely recovered. And the rest of the world doesn’t usually feel the need to intensify dramas with plane crashes – either because of more subtle plotting or a lack of budget.
• Writer JJ Abrams asserted: “Fourteen main characters was about eight more than the absolute maximum the network said we could have.” More pitiable evidence of promoting limp conformity to masquerade as celestial innovation.