So, here we are. As promised, I’m here to offer a counterpoint to, well, myself in the case of M. Night Shyamalan, who serves as executive producer and one of the handful of directors on Fox’s Wayward Pines. Even so, the look of Wayward Pines is all Shyamalan, much like David Fincher’s stylistic signature has remained on House of Cards despite him having directed only a few episodes. Shyamalan’s ability to evince an eerie atmosphere through patience and a deep respect for quiet remains clear even today, when he’s not dealing with wind-harnessing wizards or whatever the hell that thing at the end of After Earth was supposed to be. He’s also refined a shaggy, intermittently insightful perspective on the relationship between parents and children, something that felt far more convincing early on into his career. That being said, that visual evocation of intimacy, and that unsteady familial or communal camaraderie, can be gleaned in his newer films as well, even as the impact of his style has been diluted and dulled as his career has gone on.