Why can't Hauser tell Diego and Rebecca everything he knows, or at least enough to do their jobs sensibly?
If he gives the appearance of knowing everything that's going on, he retains the power in the group. But while he knows a little more than they do, it's obvious he's not privy to the full breadth of events.
For instance, if he knew his partner Lucy had been alive and worked as a doctor on Alcatraz in the 60s, he wouldn't have confused as to why Cobb targeted her. He would have anticipated this action.
Lucy is much more involved, knowledgeable, and possibly complicit in the conspiracy. Or she had a change of heart and is working against her former group but keeps the bulk of the information to herself.
Why doesn't it occur to Diego or Rebecca that the public deserves to know the truth, despite its implausibility, just so they can take steps to defend themselves from time-travelling psychos?
You're wondering why two people can't unilaterally decide policy for an entire nation about the release of classified information that either a rogue part of their government or a private organization or enemy nation has developed either stasis or time travel technology and is using prisoners to assassinate certain key figures whilst also continuing their normal range of crimes? Seriously?
And for that matter, why are the Alcatraz prisoners so much more dangerous than all the nuts that exist among the population today, that so much effort is going into hunting them and locking them up in a fancy, gleaming prison? Given the state of California's prison system, I'd prefer for that money to go towards keeping the non-time-travelling psycho population locked up in non-fancy, non-gleaming, non-underground, regular old cells. You could built twenty regular prisons for what they spent on their little Batman Gitmo.
Hello, possible time travel or stasis from the 60s? Possibly mind-controlled anachronistic assassins who also happen to be dangerous and unpredictable criminals with more down to earth crimes and motivations in mind? Are you seriously comparing this situation to normal prisoners on the run or incarcerated at San Quentin?
Also distracting: the music, which is too reminiscent of Lost. Or perhaps it's a warning?
Well, it's the same composers (Michael Giacchino is scoring the pilot and main theme, while his long time coordinator Andrea Datzman is scoring the series itself), but I didn't notice much of
Lost in the music at all. The music was a little overbearing and kind of leading events at times, but I thought it was pretty good overall.
Anyway, I thought both episodes were fantastic. It had just the right combination of mystery and five or six really good surprises and "holy crap!" scenes to keep me entertained if they can keep this up. Good cast, good drama, and the possibility for an intriguing storyline if they have things planned out well instead of winging it like some arc-based shows have done. I'll definitely be back next week.