Person of Interest Season 5 Home Again Trash Man Xfiles
X years ago today, one of the most destructive broadcast network shows of the 21st century conned its manner onto CBS.
Created by Jonathan Nolan, Person of Involvement, which debuted Sept. 22, 2011, initially presented itself every bit your typical CBS procedural. It starred Michael Emerson every bit Harold Finch, a reclusive billionaire and computer genius who built an artificial intelligence, a.k.a. the Machine, for the government to surveil the unabridged land and prevent the next ix/11; however, as the opening saga sell explains, the Automobile saw everything, including ordinary everyday crimes. To that finish, Finch hires a burned CIA agent, John Reese (Jim Caviezel), to help end crimes irrelevant to national security. In each episode, the Motorcar would give them a social security number and they would have to investigate to find out if that person was a victim or perpetrator. Along the way, Finch and Reese picked upwardly allies similar Joslyn Carter (Taraji P. Henson), a virtuous NYPD detective who helped salve numbers and handle a brewing mafia state of war, and Lionel Fusco (Kevin Chapman), a formerly corrupt cop seeking redemption. Simple enough, correct? Person of Interest could've run on that premise forever.
Yet, the show didn't stop at that place. Person of Interest was very wary of police from the offset (run into the ongoing storyline about a corrupt group of cops called 60 minutes), but every bit it became increasingly critical of the mail-9/eleven surveillance country and War on Terror, it delved deeper into the sci-fi elements of its premise. The techno-thriller was as well successful considering of two additions to Team Machine: Sameen Shaw (Sarah Shahi), a regime assassin who unknowingly handled the relevant cases for the government until she was blacklisted, and Root (Amy Acker), a hacker who chooses the Machine as her new deity. By the stop of the third season, Person of Interest transformed into a show most a secret war between 2 A.I.s and their acolytes: the Machine, which was relatively skilful thanks to its creator, and Samaritan, a cold entity that valued club above everything else. The writers counterbalanced that exciting boxing for the soul of the earth with a grounded storyline near the shifting criminal landscape in New York. (Aside: It'due south truly fascinating that in the 2010s, CBS was abode to two thought-provoking and technology-minded dramas that used the procedural format to push challenge the network's brand: Person of Interest and The Good Married woman.)
"I had a long experience with not but CBS, but episodic and procedurals and knew what CBS wanted, and I know what was running the network and what the wanted. And it was non where we were taking the show," says co-showrunner Greg Plageman, who joined the pilot to help Nolan, a first time Television producer, steer the ship. "It was virtually like nosotros snuck in, in sheep's clothing."
In accolade of the show's tenth ceremony, EW hopped on Zoom (as one does these days) with Nolan and Plageman to look back on some of the show's most memorable episodes.
"Pilot" (Flavor i, Episode 1)
A scene from the pilot episode of 'Person of Interest.'
| Credit: Jeffrey R. Staab/CBS via Getty Images
When the series begins, the Auto has been operational for many years. Finch locates and recruits Reese, who is homeless, to help him handle the irrelevant numbers. Thus, Reese becomes known as the Man in a Conform, a well-dressed do-gooder who shows upwards when there's trouble, which places him Det. Carter's radar. Looking back at the pilot, Nolan and Plageman recall the disastrous table read that started it all.
JONATHAN NOLAN: Pretty much everything that could become wrong went incorrect, but we must've had the world's worst table read. Michael Emerson couldn't be there, long story, and in that location was some contention about whether there was even to be a table read. Heedlessly, I agreed to read the stage directions. It's a very high-concept pilot, [and] a lot of it comes downward to Michael Emerson explaining what the hell is going on in the show. I though the script for the pilot was fine, but it was pages and pages of Non-Michael Emerson explaining and me stumbling my manner through the stage directions. And I think if you went dorsum and polled the folks at Warner Bros. and CBS, that must've been the worst tabular array read of all time. It was very clear to us coming out of the table read, that the show was non going to get forward.
GREG PLAGEMAN: Total panic ready in after the read-through. There was talk of recasting. [The powers that be asked], "Jonah, can you completely cutting the whole scene in Central Park where Harold Finch explains what the Machine is? Information technology'south just fashion too long, no one'south going to sit for that." I don't recall nosotros cut a discussion of that in the airplane pilot.
NOLAN: Nosotros were asked to cut it and nosotros did not, because our contention was that Michael Emerson could make it work, and he did.
"Witness" (Season 1, Episode seven)
Charlie (Enrico Colantoni, correct) and Reese (Jim Caviezel, left) in the 'Witness' episode of 'Person of Interest.'
| Credit: John P. Filo/CBS via Getty Images
Finch and Reese are tasked with protecting Charlie Burton (Enrico Colantoni), a seemingly innocent school teacher on the run from the Russian mob. However, the case isn't all that information technology seems. While Charlie isn't a perpetrator in this specific instance, he'southward not just a victim either. At the end of the hour, the dynamic duo learns that Charlie is actually Elias, a new player in the city's criminal underground who wants to wrest control of the Five Families and tells our heroes to stay out of his style. Written by Amanda Segel, "Witness" broke the show'due south established format with its downer catastrophe, and expanded the testify's world considering Elias would get on to become an of import recurring grapheme in the ongoing municipal storyline. While Nolan and Plageman both note how supportive CBS and studio Warner Bros. TV were during the show's run, they practise recall how this episode drew some pushback from the network.
NOLAN: [Director Frederick East.O. Toye] delivered a spectacular episode. It has this beautiful gut punch of an ending where our heroes lose. And we picked the Nina Simone song for the end of this, and nosotros thought that was f---ing great. And hither nosotros innovate Enrico, he's this terrific actor and here's this astonishing character. And the network was not happy. They were very distraught to say the least, and it was the first fight nosotros had almost the identity of the show. They said, "Well, they can't simply lose." And we said, "No, only nosotros're building this whole thing. Information technology's like Batman, yous got a rogues gallery, and Enrico is going to come back and nosotros'll practice more episodes. Eventually, they'll get him, [but] it'll take a while."
It did to get a betoken where they didn't want to air the episode. And this is what saved usa: Nosotros said, "Well, we're not changing it. We call up it's smashing. And if you don't desire to air it, we don't have another episode. Then you're going to be down an episode for [November sweeps]." That saved us considering information technology was like, we're either off the air for a calendar week or we're ambulation this. And this where we're planting a flag that the show is going to have a serialized component. It'south not just a case of we us proverb it's vitally of import our characters lose at some betoken, considering how practise you define victory if there'south never loss. Eventually, to their credit, they relented and allowed us to start moving the show, which had always been the plan, towards this advisedly serialized format.
"No Good Deed" (Flavour 1, Episode 22)
When a mid-level NSA analyst named Henry Peck comes extremely to discovering the Car's being and leaking it to the press, it falls on Finch and Reese to protect him because the government decides to electrocute him to protect the program. While information technology may seem equally though this story was inspired by Edward Snowden, this episode aired a total twelvemonth earlier the former NSA contractor exposed the extent of America'south surveillance program. In retrospect, "No Skilful Human action" was one of the earlier signs that even the relatively conventional first was working on a different level.
NOLAN: David Slack did a terrific job writing the script. [This] was a funny one because this episode was originally pitched every bit episode 5. I think we even started talking about it for the pitch packet when we wrote the pilot. There [was] a story arena document [with this thought], and I remember the arena got to the network every bit episode 5 and they went, "No, no, no. What is this stuff?" In that instance we said, "Y'all know what? Actually, it's early on." The point they made, and it was fair and information technology wasn't simply the serialized, was similar, "Guys, we just fix this concept up. It'southward early to start to unpacking it and going meta with it." And so we slid it back downward the line and put the story arena away and returned to information technology [later in the flavour].
The betoken later on where people say, "Oh, it's and then prescient. How did you know?" It's similar, "We read the New York Times!" [Laughs] Information technology was this crazy thing of a total open secret. Yes, Edward Snowden dragged into light the specifics, just it was hidden in plain sight. You were reading manufactures all the way dorsum to 2000 — this was part of the pitch for the pilot. We'd go around to every network, and at 1 point you accept your cell phone out and put it on the coffee table so it'due south not distracting you, signal to the prison cell phone, and [say], "You lot understand the NSA has the power to listen to this pitch right now? Even if the phone's off, they tin can turn it back on and they tin plow on the microphone." That blew everyone's heed, simply that was a front folio commodity in New York Times in like 2005. Yes, proud to happily have the badge of prescience on this one, but information technology was also kind of frustrating like, is no one else paying attending?
"Firewall" (Flavour i, Episode 23)
Amy Acker and Jim Caviezel on 'Person of Interest.'
| Credit: John Paul Filo/CBS via Getty Images
The street-level and tiresome-burning sci-fi arcs finally converge in the season 1 finale when Reese comes to the assistance of Caroline Turing (Acker), a therapist HR has been charged with killing. Meanwhile, both Fusco and Carter were running interference with the FBI, who were also hunting the Human in the Suit. Like "Witness," however, there's a twist: Caroline is really the ruthless hacker and contract killer Root, whom Reese and Finch crossed paths with in an earlier episode. Information technology turns out she ordered the hit on herself to draw Finch out and observe the Machine. The episode ends with Root kidnapping Finch.
PLAGEMAN: That's definitely when the freak flag started to fly. [Laughs] Our guys lost once again, Root won that 1. We knew we wanted to cliffhanger out [at the terminate of the season], and I think information technology just kind of always helped the states empathise that nosotros needed to make full out this world, as Jonah said, the rogues gallery. Nosotros kept coming up with, different variations beyond Elias, and you'd the municipal, y'all had the more federal, and yous have the international. We would just keep building it out and we would be able to go back. 1 of the things we came up with that we thought would sate the network was, "Hey, permit'south practise a iii-episode arc [at the end of season 1 and beginning of flavor two], tie that one off, and then outset another one. And and then we can come back to it and they'll leave us solitary." But it was tough, I recall, being at CBS, which knew what its make was and we kept trying to change that.
NOLAN: One hundred percent, that's what nosotros felt. My wife, Lisa [Joy], suggested the amazing Amy Acker. We'd seen Root off-photographic camera in an earlier episode, and and so brought in the incredible Amy Acker, who I call back idea she was doing a invitee spot. We started immediately articulating how excited we were for this to go somewhere, and she was probably a little freaked out by these very enthusiastic showrunners. Just that episode was kind of a commemoration of we felt like the show had found its footing.
"Relevance" (Season ii, Episode sixteen)
The 'Relevance' episode of 'Person of Involvement.'
Executive producer J. J. Abrams originally suggested Nolan make his directorial debut with the pilot, merely Nolan decided to wait until this game-changing and propulsive season 2 installment, which he co-wrote with Segel. "Relevance" boldly sidelines the show's bandage for most of its runtime, choosing to focus on Shahi'south Sameen Shaw, a authorities amanuensis who hunts terrorists for Northern Lights, a.k.a. the hush-hush Pentagon program responsible for acting on the Motorcar's intel. When Shaw's partner starts questioning where their intel comes from, the government decides to eliminate them both. Thankfully, Finch and Reese receive Shaw'due south number and relieve her. At first, Shaw refuses to join their team, simply by the stop of the season, she comes on-board.
NOLAN: We always knew nosotros wanted to gently grow into a small-scale ensemble, because we had a big world that nosotros wanted to explore. I call up diverse moments when we were pitching [the show], [we'd] talk most what the Auto was intended to do and every once in a while, someone will be like, "Can we only exercise that show? Tin can we exercise the show where they take hold of terrorists? What's this weird prove with the creepy guys in the corner using irrelevant numbers?" We always had that tension there, nosotros always knew wanted to get through the looking drinking glass and explore what we have on the other side. We're at 38 episodes in at this point and starting to go restless with the format. I knew I wanted to direct information technology as shortly equally [we conceived it].
Typically at this moment with the bear witness as successful as it was in that commencement season, there'd be conversation nigh a spin-off. And we're like, "why exercise we spin-off? Let's spin dorsum into the show and build out the universe of the show within the show itself." Which, I think ultimately was, for our writers room, a way to make the show intermission out of its format a lilliputian bit and allow u.s.a. to tell stories and take it work. A lot of which comes down to Shahi every bit this compelling [character]. Y'all're fascinated watching her. She'southward able to command and upsell, which worked very nicely. And I got to direct, which was super fun.
PLAGEMAN: Jonah would never admit to this, or peradventure he doesn't retrieve, just I remember when we were sitting in the video village in the pilot and he was twisting in his chair. He'south just like, "Greg, [I'g] trying to figure out this television affair. Is it okay if I go upward and give the director a note?" I was like, "Dude, yous can go burn the managing director right now." [Laughs]
NOLAN: That's not actually how it worked on my blood brother'south set [laughs]...
"Cipher Day" (Flavour 2, Episode 21)
There comes a point in Person of Interest's run where you realize you've grown to care nearly the Machine, a "character" without a physical form or voice (for at present at to the lowest degree). The show accomplishes this astounding feat thank you in part to how much Root cared for and worshipped the Automobile (Root refers to the Car with she/her pronouns, whereas Finch uses "information technology."), every bit illustrated in the surprisingly heartwrenching scene from season ii's penultimate episode. As the mysterious and sinister Decima corporation hones in on the Car's location, Finch reluctantly teams up with Root to beat them to it. In the procedure, however, Root discovers the rough cocky-preservation tactics the Automobile developed because of limitations Finch programmed into it. (Every night, the Auto substantially kills itself every night before being reborn completely new.)
NOLAN: In the pitch, nosotros'd get asked, "Well, what does the Machine look like?" because they wanted to kind of anthropomorphize information technology similar a giant huge robot with orange eyes or something. Nosotros used to say, "It doesn't look similar annihilation. It looks at everything. So when you're watching the episodes, you lot're going to feel what the Machine looks like through what it's looking at." We basically pitched them this correct out of the gate, and foolishly they decided to buy the show anyhow, was this idea that you would outset with this thing that was very kind of binary and alienating in this cold kind of concept that almost destroyed the table read. And and then by the cease of this episode, by the end of the second flavor in particular, you're starting to actually emote and intendance about it and sympathize information technology, and anthropomorphize it without using all of the usual tricks of making it beautiful or embodying it in some amazing actor. (Nosotros'll go to that.) I think that was something the writing staff did together as a grouping very effectively, just piecing this out in a very disciplined way.
"The Devil'due south Share" (Season 3, Episode 10)
Michael Emerson in 'The Devil'southward Share' episode of 'Person of Interest.'
| Credit: Giovanni Rufino/CBS via Getty Images
In season 3, Det. Carter embarked on a cause to take down Hr once and for all, with or without Squad Motorcar'due south aid. While she succeeded, she paid the price because Officer Simmons (Robert John Burke), the terminal Hr lieutenant standing, shot and killed her correct afterward the FBI arrested HR's leader. In "The Devil'southward Share," the episode that followed, Team Automobile desperately tries to grab up to a wounded Reese before he finds and kills Simmons, and flashbacks reveal moments when each character had to confront grief, loss, and remorse.
PLAGEMAN: Without a doubt, my favorite opening to an episode. The Johnny Greenbacks embrace of the Nine Inch Nails song "Hurt" was a perfect instance of belongings ourselves to the rule, simply use a song if information technology sends a shiver up your spine when married to moving-picture show. I don't recollect Jonah and I always had more fun than being the incognito music supervisors of the show for five seasons. Nosotros absolutely loved it. That opening montage withal gives me goosebumps, no dialogue necessary. After the murder of Carter, we needed raw emotion, and a way to convey the hurting and our characters' need to avenge her expiry. Johnny Cash brought the hurt. We learned so much in this episode about the level of depth in which Carter impacted each of our characters — especially Reese, Fusco, and fifty-fifty Elias. Fusco's story, and how emotional he was in imparting how Carter helped plow his life around, made him a better person, was particularly powerful. A in one case dirty cop who gives meaning to the title of the episode, Fusco knows all about "the devil's share." Then does Elias, who does the thing to Simmons that everyone wants to do, because he can — even savour it.
Robert John Burke was an incredible villain on the prove, who did then many terrible things with such ruthless impunity that I really came to honey him. Great mug, swell voice, the man still scares the south--- out of me. The matter that makes it so odd is that Bobby Burke is a volunteer fire-eater, and one of the most selfless, interesting guys yous'll ever run across.
"If-And then-Else" (Season 4, Episode xi)
The 'If-Then-Else' episode of 'Person of Interest.'
| Credit: JoJo Whilden/Warner Bros.
Written by Denise Thé, "If-So-Else" is one the drama's all-time outings. After the ruthless competing A.I. Samaritan causes chaos in the market as a way of asserting control over the globe, Team Machine ventures into the bowels of New York Stock Exchange to set things right. Unfortunately, the whole scheme was a trap to catch them, and Samaritan'due south forces pivot them downwards as they look for the Motorcar, who is communicating with Root direct, to come up upwards with an exit strategy. The Auto proceeds to work through multiple unlike scenarios, searching for the one that has the highest chance of survival. Fifty-fifty with the Automobile'southward aid, though, the team still suffers a loss because Shaw sacrifices herself to ensure their escape — but not earlier kissing Root. (Thankfully, Shaw didn't die, merely was instead captured by Samaritan forces, but more on that in a bit.)
NOLAN: Nosotros used to call [executive producer Denise Thé] The Darkness, considering she was always pitching killing off characters. She came into [the writers room] with this as a pitch. To get to the fourth flavour of the prove and have one of the [and so] co-executive producers walk in and pitch an episode like this you merely get incredibly excited about this idea correct out of the gate and knew this would exist another one of these moments where the show just moved forrad. The about fun [part] for me in this episode was us working with Denise on the meta scenes where the characters only explain their lines. Oftentimes when you're writing a show, you get to a point where y'all're similar, "Oh yeah, Fusco says some quippy sarcastic s--- [here]" so you'd come dorsum later and fill it in. This was our chance to just make text of that. Simply it'southward an amazing episode. It'due south Root and Shaw connecting for the offset time.
Shaw (Sarah Shahi) and Root shared their first scene together ever in 'Person of Involvement' flavour two episode xvi's 'Relevance.'
We starting time leaning a little more into the human relationship betwixt Root and Shaw because they were the merely characters on the bear witness that had any chemical science. [People inquire], "where did these things come up from? Did you programme for it?" I knew from the commencement scene that I shot with those two actors in "Relevance" that they had chemistry, immediately, on-screen. And we had ever been looking for some romance in our show and God anoint all of our actors, who are astonishing, but Amy and Sarah were the just two who had chemistry with each other. We're like, "Okay, we got to explore that a piffling bit." An amazing for episode for so many different reasons.
"6, 741" (Season 5, Episode four)
Amy Acker as Root and Sarah Shahi equally Sameen Shaw.
After being absent for many episodes, Shahi returns in "6, 741," which begins with Shaw escaping Samaritan's clutches, returning to New York, reuniting with the team, and finally consummating her human relationship with Root. Unfortunately, everything starts falling apart and Shaw eventually kills Reese. Worried that she'll betray the team even more, Shaw pulls out a gun and, despite Root'south pleas for her stop, kills herself. And that's when the script reveals that all of this was happening in Shaw'due south listen, considering Samaritan has forced her to alive through half-dozen,741 simulations in an attempt to find Team Machine's location. In other words, it'southward a classic "it was all a dream" episode, but it works considering it'due south well-nigh how much Shaw cares for non just Root, simply the entire squad.
NOLAN: Another Denise Thé joint with Lucas O'Connor. I remember hearing this pitch and being scared because, like you said, ["it was all a dream"] episodes never piece of work. [Lisa] and I were shooting the commencement season of Westworld at this signal. I heard this one and thought, well, if anyone's going to pull it off it'southward going to be Denise. Simply these one are tough to exercise.
PLAGEMAN: I call up this is when nosotros really started to build the steady drumbeat of Samaritan becoming this all-commensurate A.I. going up against our Car, and what the cardinal differences were, and building upward Greer [John Nolan] every bit the counterpart to Harold Finch. In other words, someone who had different worldview than Harold Finch, but likewise felt that if an ASI comes forth, he's quite content to hand it the keys. This fall in line, at least in my head, every bit nosotros were building into the last season with Greer and Samaritan. And as Jonah pointed out, too, Root and Shaw'due south history and how far we were willing to go with that human relationship.
NOLAN: The tension with that was always the classic 10-Files tension, right? Of when you lot have this will-they, won't-they actually become together. Only the tension at that place is always once you bring 2 characters together romantically, where practice you go from there? We were trying to piece this out and get it exactly right. This felt like a romantic and ultimately tragic way to explore that idea of the connection between these two very complicated people. Information technology'due south always easier if you have a romantic relationship with a testify to just information technology out for as many season you get, but hither we felt like wanted to bring them together in a mode.
"The Day the World Went Away" (Flavor five, Episode 10)
Sarah Shahi as Sameen Shaw, Amy Acker equally Root, and Michael Emerson equally Harold Finch.
Finch's number is upwardly in Person of Involvement's 100th episode , which featured the expiry of ii major characters: Elias, who tried his best to aid Finch avert capture, and Root, who took a bullet for the Auto's maker while evading Samaritan'southward operatives. Both deaths finally button Finch over the edge and he finally decides to kill Samaritan past any ways necessary — including establishing a directly line of advice with the Machine, something he'd been a wary of doing. To his surprise, the Machine finally choses a vocalism: Root's, whose apotheosis had been planned since flavour ii.
PLAGEMAN: When Michael [joined] the show, he'd always sort of played this character on Lost, this villainous tight graphic symbol and I think he was looking to do something different. So we were always hesitant to show that [darker] side of Harold Finch, merely we felt like he'd finally been pushed too far enough that this was when we'd love to run across Harold go a piffling fleck off the rails.
NOLAN: Nosotros'd always planned on [Root] transcending — her fascination [with technology], all those fun scenes in the 2d season [like in] Greg'due south "Bad Code" with young Root playing the Oregon Trail and her early on loneliness looking for a life out there in the dark wed. And she gets what she wants. It'due south something nosotros built from the very starting time time you meet this character: she merely wants access to this Machine. She but wants to be closer and closer to, in her mind, this almost divine intelligence. And she gets her wish, merely in the almost tragic style possible.
"return 0" (Flavor 5, Episode 13)
Michael Emerson as Harold Finch, Jim Caviezel as John Reese, and Sarah Shahi as Sameen Shaw.
In the action-packed and heartbreaking series finale, Team Machines races against the clock to destroy the last copy of Samaritan, which results in Reese's decease. With the world saved, Finch finally reunited with his married woman, Grace (played past Emerson's real-life wife, Carrie Preston), and the Motorcar/Root contacted Shaw to keep helping people. The serial ended with a happy-distressing message: "Everyone dies alone, only if y'all mean something to someone, or helped someone or loved someone or even if a unmarried person remembers yous, then possibly you never really die at all."
NOLAN: Wouldn't change a damn affair [about the finale]. There'southward an interesting story here in terms of when do yous know your testify is over? In that location [was] a whole moment of uncertainty for the states quaternary into the 5th season about whether the testify would become picked up. At that place was a bit of a gamesmanship at that place between the studio and the network figuring out the larger picture of which shows they had. And we were kind of the utility histrion at that point. [Greg, Denise, and I] kind of sat downwards together and said, "They're not going to tell us whether this is the final flavour. And then why don't we cancel the show? Why don't we become ahead and but brand it the last season?" Everyone would exist happy for united states to kind of dangle it out there and try to go a few more episodes and throw a fiddling more money into the syndication pot. Simply I think for united states, it was very, very important, peculiarly with this incredible writer's room and this incredible cast that we end with a complete story. Then nosotros had a conversation and we decided that we were going to write to it. Nosotros were going to kill it off and end information technology. And and then when no one called and complained nearly that interview then nosotros kind of knew that we had fabricated the right decision. So nosotros were able to write to information technology in a manner that for me, I call up very satisfyingly as a young idiot having a theoretical conversation with J.J. Abrams about making a TV show to get to this moment where we did everything we set out to do with this show. I beloved the way the testify ended and this episode has a little chip of commentary about the nature of endings.
PLAGEMAN: I'm just extremely grateful for the twenty-four hour period I met Jonah, because I call up nosotros really grew up almost together as like learning to go real television producers with existent ambition. I had run a prove earlier, only this was similar, Jonah was throwing stuff at me and I'm similar, "We can't exercise that." He'south like, "Why not?" "All right, let's do information technology." And we're flipping cars in the middle of New York City and bravado s--t up and stuff I didn't even think yous could do. But as well simply the level of ambitious. And here we are again, making another show incredibly well-nigh something very prescient [an adaption of William Gibson'due south The Peripheral]. It's diddled my listen 10 years afterwards to think, "Wow, this is actually eerie because we're making some other project now, which has a much scarier concept coming downwardly the pipeline in The Peripheral with William Gibson.
Person of Interest is available to stream on HBO Max right at present. Celebrate its ceremony with a rewatch!
Related content:
- Person of Involvement series finale epitomize: 'Return 0'
- Person of Interest series finale: Bosses, Michael Emerson on THAT death
- Person of Interest 100th episode epitomize: The Day the World Went Abroad
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