Buried deep within this sentence (Doritos are delicious) is an advertisement. Did you catch it? You probably didn’t because it was so subtly subliminal, but that’s exactly how product placement has worked for a century to varying degrees of success. After all, there’s a thin line between using real-life products in a film to create a sense of verisimilitude and using them to promote the product in question. Where that line is drawn is up to each person. One person might see a kid reading “National Geographic” in It’s a Wonderful Life and think it’s quaintly appropriate while another person might find it craven and conspicuous. To the same extent, different film productions have delivered brands with means ranging from the slyness of near-imperceptibility to almost Doritos-Scorchin’-Habanero-Flavor levels of obviousness. It’s far from new, and even though sold items have sneaked their way into movies for almost one hundred years, there’s been an explosion in recent decades, seeing a new revenue stream for studios and a new annoyance for film fans.

I’m a big fan of survival. I figure not matter how bad life is, it’s always at least a step better than being dead. As such, my self-preservation instinct is very high. While I’m not risk averse or danger shy, if I’m faced with a life or death situation, I’m choosing life and doing whatever it takes to come out on top. I naturally assume that most people are like that. Living is pretty awesome. Why then, when faced with death do characters insist on opening their mouths? Many times in movies if you just keep your trap shut you’ll either slip by unnoticed or be allowed to leave. Not keeping your mouth shut is idiotic.

We’re celebrating all week with war films. Today we learn how the actions of one man can affect an entire nation.

Like all of you, I have my own emotional and intellectual response to the Lost finale: its meaning, its significance, and whether or not it was satisfactory. But since Sunday the Interwebs have run the gamut of all possible responses to the show’s farewell night, so my response to Lost instead is a look at what its run may mean for the future of televisual storytelling.

In the last ten years, practices of storytelling and spectatorship in television have changed drastically, and, most likely, for good.

In this edition of This Week in Blu-ray, it is time to usher in the month of September with a swath of TV-on-BD, a forecast for the weeks to come as the fall television season heats up.

Rob Hunter loves movies. He also loves training friends and strangers alike in the deadly and mystical way of Jewish martial arts. These two joys come together in the form of cash money payments that he receives every week and immediately uses to buy more DVDs. This week we have Sin Nombre, Good Dick, and Israeli Martial Artists!

A little less than a year ago Brea Grant was still relatively under the radar, making her debut on Heroes as the speedy Daphne Middlebrook. How the times have changed.

Nathan (Adrian Pasdar) faces off against Sylar (Zachary Quinto) to keep him from meeting the President (Michael Dorn). Sylar has his own plans for his new partner.

Sylar continues his unusual partnership and begins to have an unexpected identity crisis. Hiro and Ando take measures toward bringing down Building 26.

An alliance is formed between Sylar and Danko, wounds are healed between Peter and Angela and Claire and Nathan, and Heroes prepares to make the next move.

HRG convinces Emile Danko, a.k.a. The Hunter, to release Tracy from Building 26, in hopes that she will lead them to Rebel. As Angela evades capture, she turns to an old friend for help. In Los Angeles, Hiro and Ando continue on their latest mission from Rebel to protect the newest hero.

When Sylar (Zachary Quinto) comes face-to-face with his long lost father (guest star John Glover), the reunion proves to be what he least expected.

After receiving a tip from Rebel, Matt (Greg Grunberg) and Peter (Milo Ventimiglia) race to Building 26 to rescue Daphne (Brea Grant) and recover files that will expose the government’s plans for those with abilities.

While being held hostage, HRG is subjected to Matt Parkman’s unique brand of interrogation, revealing how he became involved with Nathan’s government plot to capture those with abilities. Meanwhile, Matt’s discoveries bring Peter face-to-face with “The Hunter”.

I have to admit that we are a little dizzy writing this review, as Heroes seems to be running around in circles when it comes to their story.

Following a chain of unexpected events, the heroes are on the run from Nathan (Adrian Pasdar) and the Hunter (Zeljko Ivanek). A series of prophetic paintings reveals the tragic fate of someone close to Matt (Greg Grunberg). Elsewhere, Sylar (Zachary Quinto) continues the search for his father and encounters an outcast with information and an ability of his own.

Three weeks after the destruction of both the Primatech and Pinehurst, and the death of Arthur Petrelli (Robert Forster), the now-villainous Nathan (Adrian Pasdar) returns with a vengeance by persuading the U.S. President and the government to round up all people with abilities.

On today’s installment of The Diversion, we celebrate ‘Lost’ returning to TV screens everywhere.

The following clip — from the upcoming sci-fi flick Push from director Paul McGuigan — is being called the ‘telekinetic gun fight.’ In truth it is more of a telekinetic beat down scene…