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"The Beginning of the End," "Confirmed Dead," "The Economist," "Eggtown," "The Constant," "The Other Woman," "Ji Yeon," "Meet Kevin Johnson," "The Shape of Things to Come," "Something Nice Back Home," "Cabin Fever," "There's No Place Like Home: Part 1," "There's No Place Like Home: Part 2"

by Walter Chaw Four years into its run, "Lost" appears to have hit something of a stride–at least it does until it falls completely off the rails, maybe for good. Blame the most recent Writer's Strike, which happened in the middle of this truncated season, or better yet, blame the fact that the series can't seem to leave well enough alone. It has a chance to be transcendent, see, and resigns itself to being ordinary. The best episode of the run so far happens early in the season with episode 4.5, "The Constant." A clear homage to Kurt Vonnegut's Slaughterhouse-Five, it replaces Billy Pilgrim with our Desmond (Henry Ian Cusick), who becomes "unstuck" in time and struggles during the course of things to find a "constant" with which to anchor his consciousness in one fixed timeline. Ingeniously executed and manufacturing the first real suspense "Lost" has managed since possibly the first episode of the first season (or since the first hatch was opened), "The Constant" suggests that there are separate Oceanic Flight 815s, that reality is slippery, and that there might be a struggle somewhere, between some things, for control over a dominant reality. "The Constant" marks the moment I became a "Lost" fan. And then, in the very next episode, "The Other Woman," everything goes to shit: "Lost" scrambles to demystify all these philosophies in favour of a vast conspiracy masterminded by an evil billionaire who, apparently, has filled a fake plane with exhumed corpses and planted it in the ocean so as to prevent his daughter Penelope–named for Odysseus's wife, right?–from reuniting with a boy of whom he doesn't approve. The problem is mainly that after three-and-a-half years of this garbage, anything the creators could come up with in terms of an Answer would not be equal to the investment the show's loyal viewers have already made in it.

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"A Tale of Two Cities," "The Glass Ballerina," "Further Instructions," "Every Man for Himself," "The Cost of Living," "I Do," "Not in Portland," "Flashes Before Your Eyes," "Stranger in a Strange Land," "Tricia Tanaka is Dead," "Enter 77," "Par Avion," "The Man from Tallahassee," "Exposé," "Left Behind," "One of Us," "Catch-22," "D.O.C.," "The Brig," "The Man Behind the Curtain," "Greatest Hits," "Through the Looking Glass"

by Walter Chaw By now, "Lost" is resolving as an interminable adaptation of that old PC puzzle game "Myst": lush environments, episodic brain teasers of medium intensity, and a mystery revolving around the failed construction of a society that suffers from a paucity of real forward momentum. The rate at which new characters are introduced accelerates rapidly in Season Three as Jack, Kate, and Sawyer are taken by the Ben-led Others to a neighbouring island on which the Others have built a quiet little bedroom community complete with outdoor cages, a surgical theatre, and a book-club. (This month's selection? Of all things, Stephen King's Carrie.) It's all very "Days of Our Lives"–particularly that show's supernatural stint from a decade or so ago which saw purportedly massacred citizens of Salem actually spirited away to the secluded island of Melaswen. Is "Lost" the further adventures of our Melaswen castaways? Why not. It's ultimately not more preposterous than this framework set for returns from the dead, alternate timelines, and suggestions that that glimpse of "An Occurrence at Owl Creek Bridge" in the hatch in the middle of Season Two will finally bear middle-school fruit in the show's dedication to slack foreshadowing and Gen-X/pomo 101 pop-culture references piling up thicker than desiccated corpses on the main island. If it bugs you that the characters periodically take breaks from worrying about their continued, casual existence amid polar bears and carnosaurs to do shtick on "Skeletor" and Thundercats while hot-wiring a VW bus to play Three Dog Night in an episode that blows the dust off Cheech Marin for a cameo as Hurley's no-account daddy (why not have him light up a spliff and shove his arm elbow-deep up a horse, too?), phew, then you're not the right audience for "Lost", a series that now averages one slo-mo musical interlude per episode to match its pace of introducing new people and storylines.

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"Pilot," "Tabula Rasa," "Walkabout," "White Rabbit," "House of the Rising Sun," "The Moth," "Confidence Man," "Solitary," "Raised by Another," "All the Best Cowboys Have Daddy Issues," "Whatever the Case May Be," "Hearts and Minds," "Special," "Homecoming," "Outlaws," "…In Translation," "Numbers," "Deus Ex Machina," "Do No Harm," "The Greater Good," "Born to Run," "Exodus"

by Walter Chaw From the two-part pilot, I gotta tell you, I don't trust it. I like the gore, I like the United Colors of Benetton centrefold models as castaway chic, I love Terry O'Quinn and invisible dinosaurs… What I don't like so much is this sinking feeling that "Lost" is a throw-it-all-at-the-wall creation cashing in on post-9/11 discomfort and zeitgeist Ludditism that was genuinely surprised to be asked to hang around for six years. Meaning I have my doubts that any of this cool-ass shit has been remotely plotted out to provide for a commensurately cool-ass resolution–especially since it's not on HBO and therefore not privy to HBO's seemingly bottomless roster of brilliant short-form, long-term dramatists.