Genre: 1 hour TV Drama/Sci-fi
Premise: A Secret Service agent goes to Wayward Pines, Idaho in search of two federal agents who have gone missing in the bucolic town. He soon learns that he may never get out of Wayward Pines alive.
About: The show was bought on a spec by Chad Hodge, which was based on a book. Hodge has been working in TV for awhile, getting on-air with the shows “Runaway” and “The Playboy Club,” but hasn’t been able to cross that mighty threshold known as the “2+ season show.” Ahh, don’t we all wish we could be there. He’ll have a little help this time, however, from M. Night Shyalaman, who’s executive producing the series at Fox. The show has some serious actors to help as well. Matt Dillon, Carla Gugino, Terrance Howard, Melissa Leo, and Juliette Lewis will all partake in this maze of a story. I thought the show was coming out this year, but apparently it’s not premiering until 2014. It’s either a Fox or FX show (it’s not totally clear which).
Creator: Chad Hodge (based on the ebook by Blake Crouch)
Details: 63 pages (October 23, 2012 draft)


There was a time when anything M. Night Shyalaman did was shrouded in secrecy. He was the master of the mystery (before JJ Abrams came along). Nowadays things are a little different. However, there’s a part of me (and I assume, us) that’s still curious whenever M. Night introduces a new project. Will he bring us back to that Sixth Sense magic? And when you hear that they’re going for a “Twin Peaks” feel with this – well, the mind is definitely curious. All on top of a show based on an e-book (keep writing those e-books people – Hollywood is snatching them up!). Might this unique equation result in the next big thing on TV??

37 year-old special agent Ethan Burke is driving along in the middle of Idaho with his partner, Pete Stallings, discussing how the heck two other secret agents could’ve disappeared. That’s why they’re here in Idaho, heading to “Wayward Pines.” Two special agents were sent there on a mission last week and never reported back. Now these guys have to find out what’s up.

Turns out only one of them will figure that out. A MACK truck appears out of nowhere, slamming into the car and instantly killing Stallings (ironically in a very un-stall’ish maneuver). That’s our teaser. When the cops finally find the car, it’s all but annihilated. But there’s a curious difference from the last time we were inside of it. Ethan’s no longer in it!

Turns out Ethan flew a hundred feet out of the car into the forest, and no one saw him. Which is where we pick him up. Bruised and bloodied, he stumbles along the road where he finally reaches a small town. And wouldn’t you know it – that town is Wayward Pines!

That much is good. But what isn’t good is that everyone treats poor Ethan like he’s a moron from outer space. Nobody seems helpful, and even after he ends up at the hospital, no one seems to know where his burned up car is, where his stuff is, or why he keeps babbling on about being a secret service agent. Eventually Ethan gets so fed up that he sneaks out of the hospital and into town, where he meets a waitress, Beverly, who, after a little chat, tells him to stop by her place if he needs help.

He does, only to find one of the agents he was looking for brutally tortured and burned to a crisp. Not cool! Ethan goes running back into town, telling the sheriff that his co-worker has been tortured and killed, but just like everyone in this getup, Large N’In Charge doesn’t seem to be that interested. What the hell does a guy need to do to get a drink around here!

Later, Ethan meets up with Beverly again, who tells him that she’s just like him. She got stuck in this town and has been here for an entire year. “What year is it?” Ethan asks. It’s 1986! Holy debut of the Oprah Winfery Show! If that isn’t weird enough, Ethan eventually DOES run into that other female agent he was looking for. There’s only one problem, she’s 13 YEARS OLDER than the last time he saw her. What in the Challenger crash is going on here?

And that’s only a fraction of the questions asked in the debut of Wayward Pines. You get the feeling that this show is going to have Lost-level story threads to resolve. But is it a good enough show to warrant all those threads? Or is this just gobbledy-gook covering up the fact that there’s no story?

Well that’s a good question. I don’t know! You see, with feature screenplays, the answer’s always there for you. If you read to the end, you find out if the writer knew what he was doing or not. With a TV pilot, there’s no way for you to tell. Because many of these questions don’t have to be answered for weeks, sometimes even years!

That’s why it’s so hard to write these types of shows for TV. If you don’t have a set amount of seasons, you have no way of knowing whether to speed up your storyline or hang back. And a show’s lifespan is often hanging in the balance unless you’re Gray’s Anatomy or Modern Family.

But getting back to Wayward Pines, I thought this was pretty damn good. We may only have questions to judge this on, but the questions were definitely entertaining. I want to know how we went 20 years back in time and yet one person has aged 13 years while another has only aged one.

And the writers were smart. One of the agents our hero is looking for is a former flame who almost broke up his marriage. In other words, there’s a CONNECTION there, and you need those relationship connections in a movie to balance out the relationships that are new to the character. And plus I just like the idea of this unresolved love affair that’s complicated by a strange nefarious town, the aging of one of them 13 years, and the fact that she’s now married to one of the Wayward Pinians! These are not your average issues you have to deal with. And that’s what you want when you write any type of script. You want relatable, but the ‘on-steroids’ heightened version of relatable.

And then it’s got that “Lost” goal going for it as well – that goal that’s always going to be there for every episode: GET OUT. They had to find a way to get off that island. This guy’s gotta find a way to get out of this town. As long as you have that pull dominating every episode, it gives your show a little more juice. It’s not as exciting, obviously, if this show was framed as a man going to a strange town, looking for missing people, who could leave whenever he wanted.

As for the script’s faults, there were a few here and there. Our character’s partner is killed but he pretty much forgets about that after five seconds. True he’s frustrated and wants to get out of this town. But we probably need more than a “You’re kidding me,” when he finds out his partner’s dead. And it was frustrating that every single person was so unhelpful. I couldn’t figure out if this was being done because people were purposefully trying to mislead him or because it made the script cooler. I guess it makes sense if everyone’s in on it, but I find that hard to believe. And even if they were in on it, you’d think they’d at least PRETEND like they weren’t. So when he says to the Sheriff, “an agent’s been tortured and burned to death,” why isn’t the Sheriff pretend-acting like a real person would. “Oh shit! Where!?” The fact that he’s more interested in getting a drink is basically proof that he’s a bad guy. And if that’s the case, why not just tell Ethan. “Yo, I’m a bad guy and you’re now stuck in this town. Get used to it.”

Then again, that’s the dance you’re always doing with these kinds of scripts. How long can you keep the secrets and reveals before it gets ridiculous?

This kind of thing has been done before (most recently in the underrated The Prisoner). I thought that was pretty good but it got cancelled. So I’m not sure what’s the formula for success here. But from this pilot alone, I think they have something pretty cool. With that talent pool they’re working with, I find it difficult to believe that people won’t at least check out the first few episodes. Where it goes from there is up to the TV gods.

[ ] what the hell did I just read?
[ ] wasn’t for me
[xx] worth the read
[ ] impressive
[ ] genius

What I learned: A technical tip today. There are times where you have to change a character’s name in a script. For example, if a character has a secret identity, then later reveals himself to be someone else, you have to start using that new name. Problem is, the reader’s used to the old name. So cold-turkey changing the name can be jarring. In these cases, for the first few times you use the character’s changed name, include both names – the previous and the new, divided by a slash.

So in this pretend scene in a back alley, a mysterious man named Anderson hands a character we’ve seen before (Frank) a bag of money.

How’s it going, Ray? It’s all in there.

It’s Frank, the doctor who chatted Ethan up back at the bar. But Anderson just called him “Ray.”


Welcome. We all good?

We’re all good.

Frank/Ray struts over to his car, gets in, and drives away.

  • Alex Palmer

    I think TV is better as character study than this sort of Lost-style mystery. Its a logic argument above all else. How can you possibly make a several season show (sometimes on the brink of cancellation) as well paced as a single, coherent construct like a film spec? I’ve never watched a mystery box reliant show that concluded in totally satisfying way. Life on Mars (UK OBVSLY) came the closest in my opinion.

    The ONLY series finales that have blown me away are for shows that focus on the arc of the protagonist above all else. Because that’s what TV is best at, given that you invest hours of your life for a span of years getting to know the character. The Shield finale? I was bawling. The Thick of It had a great ending. And I am itching for Breaking Bad to finish.

  • Jorge Osvaldo

    TV pilots are like the first act of a film; so much promise, so much fun writing it. The problem is that every other episode until the series finale is like the second act, stretched out for months or years. Second acts are hard to write; they require planning, and an end-point in mind.

    That’s one of the reasons Breaking Bad is so good; Vince Gilligan already knew the end-point of his show when he wrote the pilot: Walt turns into Scarface and goes up in flames. This has allowed him to shape his second act, i.e. the other 60 episodes, into a coherent series of escalating events that all work towards that inevitable third act.

    • Alex Palmer

      Place ye bets! What will Walt’s fate be?

      • Jorge Osvaldo

        Lydia hires Todd’s neo-nazi clan to hurt everyone in Walt’s life in order to get Heisenberg back in the meth-cooking game. Bad stuff goes down; Sky dies. Walt takes the ricin and his big gun to kill Lydia and Todd’s crew. Jesse turns state witness and helps Hank capture Walt, but it doesn’t matter because the cancer gets him first.

        • Alex Palmer

          Agree about Lydia and Todd’s uncles. Ricin for Jesse, whose teemed up with Hank and is getting witness protection. The flash-forwards make it seem unlikely his cancer returns, unless he’s wearing (duh duh DAH!) a wig and a fake beard!

          Also, Huell will go to mexico and Walt Jr will eat some scrambled eggs.

          • John B

            The only character that will come out clean is Saul Goodman! You know why? Cause It’s All Good Man=)

          • Matty

            Also because they are discussing that retarded spin-off series. Unless it’s like a supernatural ghost-story spinoff.

          • drifting in space

            I couldn’t believe that when I heard it… I like the character but what on Earth could a spin-off series be about? Unless Saul starts up a drug business…

          • Matty

            No idea, it’s an awful idea. A character like Saul cannot carry a series.

          • Wrymartini

            Dunno – for all his genius, Gilligan’s done the lame spinoff thing before >coughcough<

          • Matty

            True. I never watched that though. X-Files is one of my all time favorite shows, but once again, The Lone Gunmen just weren’t characters who could carry a show.

          • Alex Palmer

            Saul AND Huell on the other hand…

          • Jonathan Soens

            I think the spin-off talk has been misdirection. As much as AMC loves what “Breaking Bad” has done for them lately, a show built around Saul just doesn’t feel like a show AMC would air. Doesn’t feel like an AMC show to me, anyway.

            I say Saul probably gets whacked in the last scene of the episode right before the finale, or maybe in the first scene of the finale. Just to kick things up a notch as everyone is rocked by the realization that the one guy they thought was safe (because of the spin-off talk) is dead..

      • Awescillot

        I think for some reason Walt Jr. gets killed. He’s the only one who isn’t in on everything yet.

        Also, dipping sticks.

        • Alex Palmer

          He will be crushed under the weight of Hank’s minerals.

          And to the uninitiated, may I add:


        • Jorge Osvaldo

          I wonder if Walt Jr’s absence last episode was intentional. Walt and Sky spent the whole night in the bathroom. Where was Walt Jr during all of this? At a nearby Denny’s overdosing on Grand Slams???

      • drifting in space

        Walt disappears into the night, moving to Canada. He takes advantage of the free heath care to treat his cancer. He switches from meth to weed and sells it out of his trailer up in Vancouver. He saves up enough money to move back to the states. He ends up moving to some suburb and visits the pharmacy to pick up his cancer prescription and ends up meeting a young lady. They begin to date, it goes pretty well and they end up getting married (They have 4 kids – all boys). He works at a typical shady job where he almost runs into problems with the law again. This could prove to be detrimental due to his troubled past. Every now and then he misses his previous family but Sky is doing well in her late discovered passion for law. Walt Jr runs the car wash but is hooked on meth, which he gets from Jesse (now the new Heisenberg).

      • Matty

        Walt beats his cancer, changes his name, dons a Russian accent and rejoins his life of crime:

        • drifting in space

          O.M.G. Nailed it.

        • Jorge Osvaldo

          Writing exercise: write a film that includes a part for Brian Cranston to play. Result: instantly your screenplay improves tenfold.

          • Writer451

            So you’re saying that RED TAILS, TOTAL RECALL, and ROCK OF AGES were ten times worse before Cranston joined them?

          • Jorge Osvaldo

            Fine, I’ll concede that the man has terrible taste in film roles; let’s not forget he was also in the Total Recall reboot. Maybe I should have written, “…includes a part for Walter White to play.”

    • ripleyy

      (YO, SPOILERS)

      Was it in “Buried” that, in the flash-forward, Walt brings out coins out of his pocket? I loved that touch so much, so I’m thinking he goes underground for a whole year, ends up broke, comes back and takes the ricin. I think the ricin is for Hank, though.

      Honestly, I just hope to it explodes spectacularly because I’m going to be annoyed if it just whimpers out. Walt’s touch is toxic, everyone around him is affected by him so I’m thinking that something happens to him and everyone around him gets burned because of it.

      The only person I can see getting out of this alive is Walt Jr.

      Also, how crazy was Gus’s death? I loved that episode so much. Room explodes, Gus comes out, fixes his tie (which was a fantastic touch) and turns out half his face is gone. That’s my favourite antagonist death by far.

      • drifting in space

        Though I thought Gus’ death was cool, is it possible to walk out with half your face missing (like… literally GONE) and adjust your tie before dying? Lol, I was always a little put off by that scene, as bad ass as it was. I also didn’t want Gus to die, so there’s probably that factoring in. Such a great show. I need to catch up, only on s5e2.

        • ripleyy

          Not really, but I think it’s okay to suspend disbelief. In reality, Gus would have been blown to pieces. Though, my theory is that he used the other black guy as cover. When he comes out, something falls from the ceiling, so I’m thinking it’s apart of him.

          Though, Vince has said even though it won’t be in episodes, they do actually plan out time-lines and how things happen (such as this).

          • drifting in space

            I didn’t even catch that, so I just re-watched it. I think you’re right, as gross as that is, LOL!

        • Matty

          Sure it was unrealistic (though not any less realistic that two-face in TDK), but the show isn’t exactly the epitome of realism. One of the beauties of the show is that you so easily suspend your disbelief. I thought it was a fantastic way to send out one of the greatest villains in TV history. After seeing that episode, I realized I would have been slightly disappointed if the room had just exploded, end of scene.

          The end of season 2 (plane crash) stretched my suspension of disbelief a bit too much. Not that it couldn’t, or wouldn’t, happen, but it felt too heavy handed and a bit unnecessary. That scene is probably the biggest flaw in an otherwise nearly flawless show.

      • Jonathan Soens

        It’s funny. Had crazy winds messing with my dish on Sunday night when “Breaking Bad” returned for the season premiere, so TV was unwatchable that night.

        So I frantically resorted to downloading it online. And some jokers had posted fake spoilers in the comments on the site where I downloaded it. I knew they were probably just goofing, but I kept wondering if any of them might turn out to be true. Is Walt really gonna kill Hank this episode? Does Walt Jr. really get hooked on the blue stuff?

        I had a moment where I thought Walt was about to catch Junior smoking meth, because there was that scene where he went out to his car in the middle of the night (and this was after Junior had disappeared for the evening, saying he was going to go hang out with some friends). I thought he was about to find Junior with some of the blue stuff in one of the cars. Turns out: nope.

        I hate when I get those crazy winds that render my dish useless.

    • John B

      I think the point of these comments is that Carson needs to have a whole Breaking Bad week! lol

  • JakeBarnes12

    “He’ll have a little help this time, however, from M. Night Shyalaman, who’s executive producing the series at Fox.”

    Oh, hey, M. Night Shyalaman. What? Writer’s meeting? No, we’re just, uh, it’s a fantasy baseball league get-together. You didn’t get a copy of the script? Wow. That’s strange. Must remember to fire the intern. Anyway, don’t let us keep you from your important producing duties. Yeah, absolutely, we’ll be having that story meeting any day now. We’ll let you know soon as we get our schedules worked out. Awright, you have a good one too, M. Night Shyalaman.

  • GeneralChaos

    Speaking of TV – the television was invented by Alexander Graham Bell the year before he invented the telephone. In fact, his first words over the telephone were, “Mr. Watson, come here… you gotta see this new trailer for Birth Of A Nation they’re showing. It’s awesome!”

  • SeekingSolace

    TV PILOT WEDNESDAYS. Now there’s no need to worry about holding another arduous TV Pilot competition, and on Wednesdays when there are no TV Pilots to review there could be a review of something else.

    • GeneralChaos

      I’m looking forward to Carson dabbling into TV Commercial Advertising next. I’d really like to see a review of the new Taco Bell commercial spec that sold recently.

      • klmn

        Maybe he can review tweets?

        • GeneralChaos

          “Where was the GSU in that tweet!”

          • drifting in space

            None of the 140 characters were relatable. Nothing pushed the tweet forward.

          • GeneralChaos

            Do you really need 140 characters to say what can be said with 5 or 6? Combine characters; it will make them that much more memorable.

          • Linkthis83

            Oh….I see what you did there. :)

          • drifting in space

            LOL YES! I wish I could up-vote that 100 times.

          • GeneralChaos

            You inspired that, but thanks.

    • cjob3

      this. this. A thousand times, this.

  • MaliboJackk

    Would love to read a copy of the script.

    malibujackk at gmail dot com

    • Poe_Serling

      Remember G-Day is just around the corner… so make sure you set aside enough time to flip through those pages. ;-)

      I’m assuming this week’s SS newsletter will include grendl’s script… ??

      • klmn

        Yes, and Ghost Shark is tomorrow.

        • MaliboJackk

          Busy week.

      • Linkthis83

        I’m excited about tomorrow’s article about a certain reader providing insights into their world.

        If Carson and grendl make the script available, I sure hope the number of people wanting to take shots at it remain at a minimum and the reviews remain mostly objective.

      • jaehkim

        stop getting my hopes up!

        • Poe_Serling

          Perhaps Carson will shed some light on the subject… unless he’s going the JJ Abrams route with a ‘mystery box’ newsletter this Thursday.

  • charliesb

    I’ve read this book. The ending is certainly a bit of a head scratcher. But much like with Lost I’m not sure if people are going to buy into it. The problem with these type of “mystery” shows is the explanation is rarely as good as the mystery. I think this will get cancelled by the second season if not during the first.

    • jaehkim

      mysteries are like a stage magician and his tricks. once you find out the answer, it’s like revealing how the magic trick is done and after that it loses all its mystique. I think if the series can grab a core following it might do ok, but based on carson’s description, I don’t think it’ll last 2+ seasons either.

  • ripleyy

    Reminds me of a Fringe episode when Walter, Olivia and Peter were stuck in a town and they couldn’t get out because they were stuck in a time-loop. One of the many fantastic episodes they had in that show. Sounds really interesting.

    • TruckDweller

      One of the better episodes. Felt like an homage to X-files – or even more of one than the show itself. Super moody.

      • Spitgag

        This is really a comment off your recent unsold Fox show (sorry, that sucks), buried in a back post for discretion purposes.

        I’m a Commercial Director working with some Producers in Shanghai/Beijing. You sound you might have some goods for sale. They are buying over there and it’s on. Shoot me an email and let’s talk.

  • DD

    anyone have a copy of this they can e-mail me? Would be happy to trade for it. Let me know

    ardorenfest at gmail dot com


  • MaliboJackk

    The guy that wrote the ebook — is not the guy that wrote the pilot.
    He gets a check. He may even get a check for each episode.
    Anyone know how that works?

    Should we even be writing pilots?
    Is any network or cable going to buy a pilot — from someone who has no credits?
    Not sure if I should be writing an ebook — a pilot and bible — or shoot for headliner.
    Also, isn’t the format different for networks (with commercials) and cable (without)?
    Some good articles would be helpful.

    And then there’s this —
    When I asked Frank Darabont if he went into television for the money,
    part of his answer was — “There’s little money in television — unless you’re the headliner.”

    • Poe_Serling

      According to Deadline: M. Night is on board to direct the pilot.

      • MaliboJackk

        Sold before he had written the bible.
        Maybe because it was a hot property with M. Night attached (and in a bidding war), he didn’t need show a bible?

    • klmn

      That’s what I’ve heard- that it’s virtually impossible for an outsider to sell a pilot. If you have a track record in television, it’s a different story.

      • drifting in space

        Or a manager like Brooklyn Weaver hustlin’ your script (that has to be extremely well done).

        • klmn

          Better yet, a track record in television AND a manager like Brooklyn Weaver hustllin’ your script (that has to be extremely well done).

          • drifting in space

            Then you’re just ballin’. I hope he can last longer on this series than his track record shows.

    • Matty

      My two cents – I can’t really go into great detail, but yes, if you want to write a pilot, you should be. This is from personal experience when I say it is not a waste.

      • drifting in space

        Is writing a bible along with the pilot good practice? They are rarely discussed, even with the recent sale of Extant.

        • Matty

          Writing a season one bible is a good idea, yes.

          I was originally told that it wasn’t important to write one, and then later learned I was misinformed.

    • cjob3

      Perhaps. But I’d like to know Mr. Darabonts definition of “little money.” I bet I could teach him a thing or two there.

      • MaliboJackk

        Like how?

    • mcruz3

      Write the pilot but know that there’s a VERY slim chance someone would let an “unknown” be showrunner. The networks usually buy pilots from unknowns as a package with a well-known showrunner attached. You’ll likely get a Co-EP credit, though, and that’s better than staff writer.

      The guy that wrote the book Wayward Pines is likely in that boat and because of the Co-EP credit, will get a check for each episode AND more when he writes one.

      Don’t worry too much about format — cable networks aren’t going to scoff at you writing act breaks in your pilot, they’ll just take them out if they want it.

      Also, a typical staff writer (the lowest rung on the TV writer ladder) gets paid $1,500 a week and no special bonuses for their episode. The numbers are kind of astronomical from there — story editor, exec story editor, consulting producer, co-exec producer, exec producer, showrunner and every single of those titles gets more money for their own episodes (which they get more than one of a season, unlike the staff writer).

  • Linkthis83

    For me, the show Lost ruined any future show that is going to use a similar formula. Season one of Lost was the GREATEST first season of anything I’ve ever watched (I also wasn’t hip to Lost until after the first season was released on DVD). I watched all of the first season in a span of 48 hours. I never wanted it to stop and I couldn’t wait to see what happened next. I was hooked and I was involved with these characters.

    Seasons 2 and 3 totally removed me from my emotional involvement and I became a spectator. Season one was a fantastic build-up and the seasons that followed were just manipulating me because they knew they could. It became apparent they didn’t know where the finish line was and thought it would be okay if they just drove around because, hey, I’m already in the car.

    I was convinced at one point that ‘The Others’ were the writers. I truly thought that’s where the story might wind up. And if it didn’t go there, I assumed this was all related to their deaths though I had no idea how (how could I – they gave clues for all kinds of possibilities).

    It is because of this manipulation that I think every show that tried to capitalize on the Lost format and failed, was because the viewing audience had already been through this. I think that’s why shows that have the resolutions at the end are so popular. Sure they may throw in some plot lines that carry from show to show, but basically in every episode you get the set up, the search and the resolution.

    Overall, I loved the show Lost. But the majority of that love comes from the courtship phase called Season One. Once I became just a spectator, then I was never dissatisfied with any choice they made because by this time, it no longer surprised me.

    If episode one of Wayward Pines doesn’t meet the bar that Lost set, then I may still watch, but I won’t really care what happens.

    • drifting in space

      I completely agree on Lost. My wife (girlfriend at the time) watched season 1 in a similar fashion, most of season 2 as well. I HAD to know what happened next. I mean, c’mon, when the Hatch is introduced, and Desmond’s under there? Gosh, captivating. As the seasons went on the writers themselves seemed “lost”. Don’t even get me started on the ending…

      Shows that are a collected series within each episode are very satisfying to the viewer. Probably because so many times the “long con” always disappoints. When we get the resolution at the end of 30/60 minutes, with maybe a teaser for the next episode, we feel both satisfied AND hooked. Most shows don’t do this for me anymore, whether it’s because of Lost or not, I’m not sure.

      I’ll give this show a watch but if it starts to hint of disappointment, I’m probably out pretty quickly.

    • Matty

      Really? I thought the season 3 finale was one of the finest episodes of television ever. I friggin’ loved the first three seasons. I liked the whole show, but those first three were amazing (not without their guffaws though of course).

      • drifting in space

        The first few were very good. It was closer to the end when I started to lose interest. In fairness, I did go a year in between 5 and 6.

        • Matty

          Season 6 kinda dropped the ball a bit for me. The Temple and all that shit I didn’t like at all.

      • Linkthis83

        I think I was aggravated by season 2 a little. I think I remember season 3 bouncing back a little. It was probably the later seasons for me as well (I’m foggy on when I actually stopped being engrossed). Plus I wanted to shoot Ana Lucia.

        Plus the introductions of new characters became frustrating as well.

        One thing that made season one even more awesome for me at one point is this:

        I was re-watching the season. And for some reason I had the subtitles on. It was the episode where Boone was in the tree-top plane and using the radio. I never knew/understood what the people on the radio said. With the subtitles on, I got to see that the people on the radio told Boone they were survivors of flight 815. Yikes!! That was cool.

      • Linkthis83

        To be honest Matty, I don’t really know when I became just a spectator. I probably was engrossed longer than I realize.

        I absolutely loved the character of Mr. Eko (that would’ve at least got me through the beginning of season 3).

        • Matty

          Mr. Eko was a great character, who left the show too soon.

          My favorite characters were definitely Desmond, Ben, and Locke, though.

          • drifting in space

            See you in another life, brotha.

            Desmond was my favorite. Jack at the start of the show, less so towards the end. Always had a soft spot for Claire and Charlie.

          • Linkthis83

            I was just about to post that quote, brotha!!

          • Matty

            Yeah, Charlie and Desmond were two big reasons why I loved the season 3 finale so much.

            And of course, the big reveal.

          • Matty

            And “The Constant” in season 4 – one of the best episodes as well. Desmond and Jeremy Davies.

          • drifting in space

            Ooooh, yeah. I really liked that character as well. I almost forgot about him… Man they introduced a lot of characters over the course of that show.

    • Jonathan Soens

      I’d have said “X-Files” ruined the concept of a drawn-out show with a whole underlying mythology and questions needing to be answered, where it was clear they were making it all up as they went along. Yet “Lost” still happened anyway.

      “Lost” was smart, because they didn’t start out like that. It started more as a show about a plane crash. It was a scripted “Survivor,” minus the reality show format.

      It wasn’t until later, when everyone was already sucked in, that people realized it was a sprawling sci-fi show that was making it all up as they went along. By the time you wrapped your head around the “smoke monster,” they probably already had you. By the time you realized the little kid was magic or something, they probably already had you. Long before time travel made an appearance, they already had you. And it’s not always easy to quit a show once they get you sucked in.

      • Linkthis83

        To be fair, I think Lost had plenty of ‘oddities’ in the story in its first few seasons. Enough to imply that things aren’t what they appear.

        In regards to X-Files you may be right, however, I would think Lost hit a much broader demographic. Which is probably why its successes/failures were amplified.

  • Rob B.

    “And the writers were smart. One of the agents our hero is looking for is a former flame
    who almost broke up his marriage. In other words, there’s a CONNECTION there”

    This is where you lost me. You think an agent on an assignment to find missing agents might
    have some information about the missing agents, including who they are with a name and a picture?

    And isn’t it a cliché to have the main character search and find the missing character only to discover that *gasp* they’ve met before and had some relationship trouble pull them apart? Can writers really not come up with anything better than this to create tension between opposite-sex main characters?
    Based off of the review, it’s going to try and be another lost clone and crash and burn like flash-forward.

  • andyjaxfl

    Lost comparisons aside, this sounds like a really cool show.

    And Carson was right about e-books. That seems to be the way to go to get material seen and developed for film or TV. Wool, 50 Shades series, and now Wayward Pines. Really cool stuff.

  • RoseAngelus

    Good Review!

  • GeneralChaos

    I would but Taco Bell would sue. You don’t mess with Taco Bell. That Chihuahua asked for more money and people never heard from him again.

    • cjob3

      I just saw that dog on celebrity rehab with the domino’s pizza Noid.


    I really enjoyed this book. I highly recommend reading it; although, it may ruin the TV show.