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By the way does anyone know where abouts the soundtrack listening with a million ears was used because in the pilot ending it seems somewhat shorter than listening with a million ears was as it's 3mins 20 where as the entire ending of pilot is only 2mins 47?


Nearly there with the Save Person of interest petition 72k so my question is how many seasons would we get if this petition went through to the networks and would it be possible to keep Person of interest running for many more seasons?

Posted by
John Reese
2 days ago

Happy anniversary, fellow irrelevants :) Another year has gone by just like that...time flies, doesn't it?


Me and my wife argue if the show was better with Carter or Root, but since they overlap a bit I realized the show can be broken down as:

Season 1 - 2.75 (pre Samaritan): a case of the week style "procedural" with a little sci fi thrown in but much more cop show style.

Season 3 - 5 (post Samaritan): more of a sci fi arch story with less case of the week and more storylines that span more episodes.

I know this is pretty general, but whats your preference? 😊


In the interviews about the episode Crossroads Jim Caviezel calls it a „game changer“ and that is exactly what it was. No more Carter and no more HR, in comes Root and the Samaritan storyline, that will keep up until the end of the show.

Where are we now in Lethe? The picture is that of pairs of persons acting in different directions with Root still as a loner on the outside.

John and Lionel

Reese has left and is somewhere in Colorado, fallen back into old habits. When he tells Iris in s. 4 “I don’t know how to deal with grief” that is not really true, he likes to sink into stupor, selfpity and Weltsschmerz while trying to dull it all with alcohol. We get some information about his past, not much, and Fusco is doing the same what he did in the episode before that: talking about his change, and how it was to become a “good” cop, and when it is almost a bit too cheesy he falls back to a simpler scheme like beating the other guy up. Perhaps his victory over Simmons made him too confident, anyway he doesn’t stand a chance against the – drunk – John. That brawl in the rain is just fun to watch (and I bet the actors had their fun too!)

Shaw asks Harold about John and he says “it is completely up to Mr. Reese when he will be back” – which is also not exactly true, because he has send Fusco after him. Which was the obvious choice because Shaw would have told John simply: So you are giving up? Fine with me! Or something similar. Anyway she is the more competent operator, although Finch doesn’t want to accept new numbers. That scene in the street when he is followed by the ringing of the telephone is quite eery and I got a feeling that I have seen something like that already in other films, f.e. Sherlock, ep. 1, when Microft follows Watson via cameras.

Finch and Root

Root knows about the discovery of a second machine because she is still in contact with TM. How that is possible is never explained (or left to the tec-fans to figure it out). This is the start of Root’s ongoing task of reminding Harold of the important things. She is the link between him and TM, because he was always wary about how to handle the AI of his own creation. He probably wanted only a machine, what he got was a being and he has difficulties accepting that. Why he is still locking Root in is a bit unclear to me. Especially in the ep. Crossroads when he leaves to help John and Carter and tells Root that he might never come back at all. So what what will then become of the incarcerated Root? Will she die of hunger or what? Anyway, she frees herself in the end but it is also never explained how she did it.

Harold and Arthur

Those two together was mostly fun to watch and the actor who played Arthur did a fantastic job to portray his illness convincingly and explaining how the beginnings of the electronic developement of AIs was like. And singing that MIT song together was so sweet and gave us a very rare smile on Harold’s face.

Harold and his father

At last we get some backstory for Harold about his youth and how he became a fugitive of the law and where this thing with the birds comes from. Why now? The choice is obvious because he now has to deal with someone whose mind is failing and the machine shows us Harold in a similar situation with his father. There is a strong motive to build a computer whose mind is ultrasmart and – unless humans – infallible. We also learn that he was a single child, so either the story he once told Carter about brothers throwing him into a pool was bogus or the writers messed up. And we learn that he was a genius right from the start and a very kind person. The way he deals with his ill father is very moving. Because there is no mother in the picture the bond to his father is very strong and this is something that made him perhaps connect to John’s fate a little bit who also was orphaned very young and had a strong bond to his father.

Arthur and Control

That was so cool, how Control played the distressed elderly wife so convincingly and she is obviously the biggest badass of the whole show. To go undercover herself and playing the part to convince exactly everyone (of course not the husband) was great. And then her revelation scene, to just turn the switch from distressed and helpless wife to boss of a most dangerous and brutal CIA-branch – topnotch! The incredibility on Harold’s and Shaw’s face – just gold! Control is my favourite villain by the way.

Control and Shaw

Obviously those two have a history, that we don’t know everything about, but Control has killed Shaw’s partner Cole and ordered Shaw’s killing too, so she is a big enemy for Shaw. Hersh the robot-agent not so much, Shaw understands that he is only an operator, doing what he is told and not making independent decisions.

I like that scene in the end, when Harold, Arthur and Shaw are cought and the situation that seems to be desperate. But we all know that it is stupid to put a gun into Harold’s face, he is as eager to sacrifice himself as is John, so it is left open how they will get themselves out of it.

What we got in this episode are two big revelations: Control has a face now and the storm, Root was talking about has a name – Samaritan.


Due to his tragic and upsetting death I've questioned Imagine if Reese was still a alive and wrong with finch xxtentaions's number is up on the machine and Reese saves from getting shot in Miami and xxtentation makes a song about a man in the suit whats your lots thoughts anyway I hope he rests in peace


Sorry guys. It's been quite a while since I've watched the series. There's this episode where Reese tells Fusco that he'll help him out if he just asks. In the middle of the episode, Fusco needs help regarding HR and calls Reese. Unfortunately, Reese is busy fighting someone and it takes too long and Fusco assumes that Reese doesn't want to help him at all. After the fight, Reese answers the call but there's no response.

I just want to know which episode that was because it's one of the heartbreaking Fusco scenes for me (Fusco is my favorite character. Great story arc!).


and by "the show" I mean Lucifer...which in comparison to PoI it's just absolute garbage. I bet if we tried real hard we could get PoI back in production. Come on netflix!!!


In the episode 2 pi r, Finch tells the current p.o.i. that his phone number is hidden somewhere in those 3000 digits. After a brief search I couldn't find anyone who actually did the math/programming to find the number. Would that be something worth pursuing in my free time for some fun? And as a programmer what would you set as your sorting criteria? Limit it to New York zip codes? Or the (555) use in television, etc.

Let me know what you think below and if I proceed with the project I'll post all my code in a public github EDIT: GitHub Link is right here!

So the public github is up but i found 12 valid phone numbers for the 212, 646, 322 and 555 area codes! Those numbers are: (555)944-6229 (212)921-9608 (332)038-1420 (555)919-8946 (646)280-4668 (555)767-4983 (332)307-3941 (646)557-3962 (646)115-7098 (555)884-0635 (555)123-7964 (332)145-7138


In S1 E17, the second POI is a baby. After Finch shows John how to change a diaper, John remarks (semi-sarcastically), “putting that MIT degree to good use”. Finch’s attendance at MIT is certainly something John learned as part of his (and Fusco’s) surveillance of Finch during a few immediately prior episodes, but I don’t recall Finch revealing this bit of information to John otherwise. Did John just inadvertently reveal to Finch the depth of his knowledge about him?


This episode could have been a seasons ending because of how excellently it is put together. The writers Jonathan Nolan and Amanda Segel cared for every detail, nothing is accidently in it and the storytelling by sound, picture and acting is a complete one.

The introduction: This opening is completely without sound except the beeping of the heart monitor at the beginning and the voice of Johnny Cash’s “Hurt”. Hurt is in a physical sense what Reese is, but much more so in a psychological way for the whole team. Everything is silent after Carter’s death and the voice of Johnny Cash carries us through the sequences: John on his bed, the burial with the mute salute shots, the look of pure grief on the faces of Finch, Shaw, Lionel and Paul and Taylor. But still only the music when the phone silently rings for Finch to give him Simmons number, Shaw beating up in silent rage someone for information, Simmons buying a passport. The way he turns around and the camera on his half-lit face has the same eery effect when later John turns around and walks away from the car wreck. To highten the eery atmosphere slow motion is used for the t-boning of the car, the questioning and the walking away. The look on John’s face is one of the most impressing in the whole show.

But instead of going on with the story the machine rolls back in it’s memory to four different interrogation scenes that structure the episode and make some much needed explanation on the four characters to tell us who they are and how they became what they are now.

1. Harold

Besides from the small detail that the actress who plays the counsellor for Harold is the same who plays later Elizabeth Bridges, we find Harold at a very important turning point of his life, shortly after he has lost Nathan and Grace. This is an insight to himself, his hybris. In fact the counsellor tells him in a different context: You are not god! This will be the change in Harold’s life when he has to face the consequences of his building the machine and builds in his question that cannot be answered: ”Does survivor’s guilt ever goes away when everything that happened was actually your fault?”

The story goes on with Lionel, Harold and Shaw not trying to find Simmons but John who is badly hurt and they fear for his life. When they are out of options it is Shaw who brings Root in, who urges Harold to overcome his doubts about her. But who is Shaw really?

2. Shaw

We now learn that she was a doctor and her pragmatism, stoicism and lack of deeper feelings got her into trouble. The tale of her delivering a death notification to a family while eating a candy bar is so much Shaw, as we now know her, that it is silently funny. She now has to face who she is and what she can’t be – a doctor – because her counsellor has figured it out: She obviously cannot see the difference between fixing and healing. He tells her that she is very gifted, has a brilliant mind and soon would get bored at the job. She is unfit to be a doctor.

In times of trouble the team comes together, just like in the episode ending of season two, now it is Fusco, Shaw, Root and Finch that are tracking down John. The story turns to Reese and what he is doing, but who is Reese?

3. John

The military interrogator tells John: You are soft! And John answers in a very soft voice: No sir. But the use of light and shadow tells us that this is not so. His face is lighted like a skull, a very eery shot that combines Reese with the image of death. The interrogator: “You are about to join men at the ragged edge to stop extremely bad things from happening.” Which is a perfect description of his later job with Finch. ”I am the last stop between you and the darkness that awaits you.” This is a sentence that can be understood in many different ways: His awful job with the CIA, his getting lost after the betrayal or his actual death at the end of the show. It speaks for Caviezels acting ability that is mostly an understatement, but very effective. Just by leaning back in the chair the interview changes completely and now he is in charge. He has no problem in killing the traitor, giving him “the devil’s share”.

The action scene when John takes out the marshalls like a very desperate killing machine is again a show in light and shadows, the darkness after the electricity cut, the green light of the marshalls visors, the bright exploding light when the sticks are shot and then again the dark-red brooding light when John confronts Quinn. He knew that he was lost and told the marshall: “the man who is coming after me – your men won’t be able to stop him.“ In his desperation he starts talking about “loyalty” – a pompous speech suiting the mobster that he really is. But it is all lost on Reese who knows what this is about. It is not loyalty but the regime of fear that HR was built on. “That is why you and I understand each other”. The writer gave John here some very good lines – at last. Together with the blood streaming down his arm and the desperate look on his face this scene is as strong as possible. And the fear gets to Quinn, he gives Simmons up – just like that.

But still – revenge is not the answer. Carter wanted to tell John when she was dying: “Don`t let this …(change you)”. That is exactly what Finch tells him – this is not what she wanted, but anyway, John would have killed Quinn (same as Shaw later in the last episode kills Root’s murderer).

4. Lionel

Earlier Root has told us where his name is coming from – he is a “lion” in an allegorical sense – strong, fearless and unforgiving. And it is again Root’s task to tell us that there is still someone to go after Simmons when the team decides it is more important now to save their friend. The interrogator of Lionel tries hard to break the shell after Lionel has killed someone in the line of duty. He is talking about PSA which just gets him a smirk of the very sarcastic pre-Carter-Fusco. When Lionel picks up the paper of Simmons location we all have to ask ourselves: Is Fusco a killer? Sure he is! That is what we learn of his interview and story of a cold-blooded shooting of a cop-killer. He is the first to introduce the term of what this episode is about: the devil’s share.

But is he still like that? Simmons thinks so: “I always knew you were a killer!” But instead of shooting Simmons, he chooses to beat him up – same choice Reese made earlier in Razgovor. But we viewers have to fear for him when he raises his injured and banded hand – is he able to do it when even Reese had problems with it? But the rage is so strong that we get an awesome fight scene and Lionel showing us that Carter’s morale was not lost on him. “She saved me from myself”.

In the last scene at the hospital, another dialogue scene with someone looming in the shadows, we get the closure of this story. The takedown of Simmons was a team job: Reese tracked him down, Lionel arrested him and now it is Elias who is not letting him get away with all the bad stuff. His cold-smiling speech about what is civilization (“that we treat criminals better than they treated their victims”) is just awesome in it’s simplicity. He draws a clear line: the lost ones who are not reigned in by morality (which includes John and Shaw) and the civilized ones like Carter, Fusco and Finch. I like it that the camera doesn’t rest on the strangling of Simmons, it is equally effective when we only see the heartline on the monitor rest. The heart monitor at the beginning and now in the end - a perfect frame, perfect ending of a perfect episode.

Posted by
Analog Interface
10 days ago

Hello! I am one of the mods for the first Exchange of Interest, hosted on Archive Of Our Own. I'm relatively new to reddit and didn't think to post here during the signup phase.

A fanworks exchange is where people sign up to produce and receive fanworks on a theme -- in this case, Person of Interest. As of my typing this, there are 49 fanworks in the collection created specifically for this exchange. The mod team is super thrilled with how everything went and we're gearing up for the Big Bang that will be starting within the next few weeks!

Go check out the collection, leave kudos and comments on the stuff you like. And if any of the fanwork jargon in this post is confusing, I'd be happy to explain more.


Was reading about Anduril and thought that this graphic looked familiar as well as the project as a whole (using a AI to monitor with a extensive camera network).


I think would be an interesting idea to see other groups that were formed by the machine. I think those could do really well as a spinoff.

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