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LOST Makes Good on Missing Episodes

Time may move wonky for those on the Island, but for those simply watching it, it'll march on as expected. And as contractually obligated.

ABC has announced that, before Lost moves on to that big hatch in the sky in 2010, the network will make good on the three episodes missed due to the writers' strike.

Prior to the start of this season, producers and the network hammered out an endgame, agreeing that Lost would continue for 48 episodes, or three seasons of 16 episodes each.

Even with the recently added second hour to this year's May 29 season finale, however, producers were still two eps shy. Not anymore.

"We were supposed to do 16-16-16," cocreator Damon Lindelof tells the Hollywood Reporter. "But we ended up doing 14 this season, so we owe two."

To compensate for the losses, an extra episode will be added to the final two season runs, making them each 17 episodes strong.

That settles that. If only those other numbers were as easy to decipher.

http://www.eonline.com/

More "Lost" to be Found by Viewers

Confirming what was previously reported right here on TV Guide.com, the next two seasons of Lost will contain 17 new episodes apiece — not 16 as was the previous plan.

Some simple math tells the whole story. The show's producers planned 16 episodes this season — but only 14 will air due to the writers' strike.

"We were supposed to do 16-16-16," Lost co-creator Damon Lindelof said. "But we ended up doing 14 this season, so we owe two."

He emphasized the show will not extend beyond its planned finale, scheduled for the end of the 2010-11 season. — J.R. Whalen

http://community.tvguide.com/

Nikki Stafford's review of "4.11: Cabin Fever"

Nikki Stafford's analysis of "Cabin Fever" is now up on her site.

"Just when you thought we were done with flashbacks of the survivors, we get another one. And whoa, was it a doozy. For the most part, it told us what we already knew about Locke – he was in a foster home, his mother was a tool, he was a loser, he loved backgammon, and he had given up on ever walking again. But throw in a little Richard Alpert, Matthew Abaddon, and a Walkabout, and you have a whole series of “ga-WHA??” moments."

Read the full review here.

IGN - Jin Talks LOST

In a brief interview with IGN, Daniel Dae Kim discusses his character's future and his feelings about the definite end date to the show.

Interview

Damon & Carlton Interview

Damon & Carlton were on G4TV's Attack of the Show a couple days ago and answered some questions.

Interview

Nikki Stafford's review of "4.10: Something Nice Back Home"

Nikki Stafford has posted her analytical review of "Something Nice Back Home."

"This week’s episode boasted more of a story and less mystery than last week’s (thank goodness for that… my head is still hurting from that one), and two major storylines of the future are starting to evolve. In the one corner, we have the Hurley/Jack/Kate/Aaron story, with Sun on the periphery of that one, and in the other corner, Sayid and Ben. Both stories are important, but I think the Sayid/Ben stories are going to point to the essential physical mystery of the island, where the Jack/Kate future stories will hinge more on the rescue itself and what happened to the rest of them."

You can read the entire review and check out the discussion here.

What happened to the ladies of LOST?

http://www.afterellen.com

LOST creators grade viewer-submitted theories

http://www.usatoday.com/life/television/news/2008-04-23-lost_N.htm

EW - 'Lost': An Indiana Jones Connection?

http://www.ew.com/ew/article/0,,20196791,00.html

Why LOST is a great show

By Ken Tucker

is critic-at-large for EW

Because of its novel premise and referential knottiness, Lost is rarely reviewed as a normal TV show. You know, like the ones with plots that get resolved in an episode or three, and have a cast of regulars whom you can count on to reappear every week, give or take a few DUI convictions. But what if Lost didn't require — to judge from the eloquent, endless exegeses provided by my colleague Doc Jeff Jensen — a solid grasp on everything from the works of Kurt Vonnegut to a thorough knowledge of The Flash comics? Well, that's how I'm approaching this review, primarily to suggest and reassure that, even as Lost barrels along to its fourth-season finale, it's still possible to watch this thing without a map, a Bible concordance, and a headache.

Over the years, I and others have razzed Matthew Fox for his one-note interpretation of Jack: slack-jawed brainiac who gazes upon Evangeline Lilly's creamy Kate or a nasty knife wound with equal bemusement. But, especially early on, Fox and his costars had to deliver lines with minimal inflection and facial expression, because seven scripts down the line, any of them might have turned out to be a bitter obsessive (see Harold Perrineau's Michael) or a violent survivalist (Terry O'Quinn's Locke). If they'd been playing their characters jolly or ditzy, it wouldn't have added up, motivationally. (Jolly/ditzy works only for Jorge Garcia's Hurley.) That's one way the producers' announced, we-know-the-ending conclusion of Lost in 2010 has improved the show — it allows the writers not only to shape the story toward a conclusion but to give the characters moods and motivations that boost the show's energy.

Here's how much of a Lost non-cultist I am: I thought the fan-despised characters of Nikki and Paulo made sense. I spent parts of Lost's first season saying, "Why don't any of those other tattered survivors in the background ever interact with the stars?" Similarly now, I hope some new characters push aside, however briefly, ones I don't much care about (sorry, soap-opera-y Sun and Jin). I was cheered to hear that Jeff Fahey, who plays the grizzled pilot, Frank, will have a beefed-up role — I've enjoyed the ice-blue-eyed actor since his beguiling 1995 non-hit series The Marshal on ABC.

Lost is currently better than most fantasy/sci-fi because it's as interested in character as it is in its alternate-world construct or its ideas about the time-space continuum. The series moves with fluid intensity between the Island, its urban flashbacks and -forwards, and its freighted freighter scenes. Like other TV loaded with culture references (from The Twilight Zone to Gilmore Girls), it's not profound, but rather a game that expands your intelligence even if you don't ''get'' all the clues. It's the pleasure of puzzlement. A-

http://www.ew.com/ew/