"ABC announced this week that it has renewed LOST for a fourth season. Said the show's writers, "Oh, crap.""
"Mysteries that are stretched interminably to fill time are not magically made more mysterious."
"A story thatís made entirely of hooks simply begins to sting; thereís never any fish to cook."
— Phil Sandifer on (you guessed it) Lost
"I could never fully appreciate the Galen character as much as others seem to. We never find anything out about the technomages, what they want or how they can do what they do. This is by design, of course, but it's a little frustrating to know that Galen only now reveals that he can see at least thirty years into the future, never mind how.... Peter Woodward is also effective as Galen, but it's amusing to watch him speak with Straczynski in the DVD's special features, as even he says he knows nothing about his own character's background, desires, or drives. Woodward is basically relying only on his natural charisma and sheer guesswork. If you ask me, it's inexcusable for a director to leave an actor hung out to dry like that. How is an actor supposed to do a good job if he has no clue who he's trying to portray?"
"Smallville is a show that, by and large, simply does not hold up well to repeat viewings. While a minority of the episodes count as 'must-see-TV', the vast majority are, unto themselves, entirely forgettable. Sometimes this is because character motivations are so random that the characters themselves are basically unrecognizable from one moment to the next (Tess comes quickest to mind); other times, it's because gaping plot holes seem to swallow whole the events that precede them (e.g. most confoundingly the recurrent discovery and use of supremely powerful and ancient Kryptonian technology — cf. the portal in the Kawatchi caves, the orb in season eight — only and at almost no other time than is absolutely critical to further the story [i.e. what on earth is this stuff doing on Earth when it could have been back on Krypton saving Krypton?])."
"What's amazing is how automatically an audience will follow the creator's lead, asking the questions they assume the creator wants them to. Because of this strange phenomenon, authors must be careful not to lead the audience into dead ends, or raise questions he isn't prepared to give an answer for. Managing the curiosity of the reader is probably the most important task of (modern) fiction. 'Loose ends' that are completely besides the point to the author can easily become obsessed over by fans who demand closure. They feel entitled to know!
Most of the time this is seen as a golden opportunity to make sequels, constantly promising answers while leaving more loose ends dangling for next time...it's downright foolish to underestimate the curiosity of a fanbase, and dangerous to neglect it once it's been provoked."
"When the rumor made its rounds earlier this year that Daniel Bryan would be facing Sheamus yet again at Wrestlemania, a lot of people on the web freaked out about Bryan once again being pushed out of the main event picture by a WWE that had lost touch with its fans. They shouldnít have, though. Sheamus-Bryan 1 got turned into a battle royal, and the sequel got cut down to 18 seconds. What more poetic finale could there be to the Sheamus-Bryan Wrestlemania trilogy than to have the third match cancelled before it even got booked? And for once, you didnít have to pay fifty-five bucks to not see it."
"When 52 came out, it was supposed to bridge the gap in DCís ďOne Year LaterĒ gimmick, in which, after Infinite Crisis, all of DCís books jumped ahead a year, and there was a mystery created about what had taken place in that gap. At the time, I actually thought this was an exciting notion. You open the new Batman, and Harvey Bollock is back, and Harvey Dent is Gothamís protector, and youíre wondering, Ooh, how on earth did that happen? Structurally, itís a clever idea for a mystery. Then, these things were supposed to unfold within the storyline of 52, with, one would hope, exciting and surprising answers."
"Then 52 proceeded to answer none of those questions."
"Whatever. I've learned my lesson. I've grown up. I'm less naive. I now know how television writing works. Get the cliffhanger image, work backward from there, don't worry about the resolution. Resolution doesn't sell ads. Once LOST is over there's no more ads to sell".
"The second episode [of Alcatraz] ended with what can only be described as the typical supposedly mind-fuck Lost-type twist - and I would've been more excited about that if Lost ever managed to actually explain/clear up it's shit in a satisfying way."