LOST SEASON..1..
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Lost Season 1 succeeds first and foremost in character development – I can't stress this enough. Throughout my reviews over the course of this season I've used the term 'character study' a few times to describe various episodes. Lost is about relationships and before we can understand the dynamic behind the various relationships that develop over the course of a season, we need to understand what motivates these characters. This shows approach of having an individual episode focus on a single character through flashback, while formulaic, is a brilliant decision. It kind of reminds me of the layers of a cake, and the backstory to each of these survivors is the foundation.
Episodes like "The Moth" (Charlie), "Confidence Man" (Sawyer) and "Walkabout" give us a wealth of information about the people we are being introduced to. These episodes and others are entertaining, exciting and contain pivotal character moments that are still important to the story even in season four and undoubtedly beyond. As I've said, this is the foundation for the whole universe that we are being presented and the team behind Lost nailed it right from the "Pilot".
With character being such an important focus of the first season, the major story and mysteries surrounding the island are deliberately underdeveloped. After the survivors' first night and their encounter with the monster we know this island is anything but normal, but we are only given glimpses from that point on. Over the course of the season we discover that there are other people on the island but beyond that we really don't learn anything. The truth is that if the writers had tried to develop the story at the same pace as the characters it would have all been too much, too soon and the whole world they are trying to build would have come tumbling down like a deck of cards. Saying that the story is underdeveloped may sound like a complaint but I feel that it was the best decision. We are given a thin vertical slice of what is to come in later seasons and that is all we really need.
Of course, there are a plethora of individual character stories that thrive over the course of the season. Jin and Sun's tumultuous relationship and betrayal, Charlie's battle with drug addiction, Claire copping with being a parent and the love triangle between Kate, Jack and Sawyer are just a small few of the intriguing storylines that take place. All of these work to strengthen our understanding of the survivors and their relationships with each other.
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LOST SEASON..2..
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Attempting to build on the strength of Season One, Lost Season Two introduces several new characters and a new mysterious group to keep viewers enthralled. Unfortunately, the show stumbles somewhat in its sophomore season with some storylines seemingly going nowhere and some characters noticeably underutilized. There definitely are some growing pains here as the showrunners work towards giving the show a focused direction but the great character work that the first season is praised for is still present.
The introduction of the tail section characters does serve a purpose early in the season as it reinforces the Others as formidable villains. While the survivors on the beach have had it relatively easy, the tailies experience 48 days of hell in which their numbers shrink to a handful. Beyond that, Libby slides into a cute love story with Hurley while Ana Lucia stands around and takes up space until she is shot to death by Michael. Neither contributes a substantial amount to the season or the series besides being canon fodder for Michael.
As for Mr. Eko, he does have a couple of good flashback episodes but it also feels like the writers are never quite sure what to do with him. At some points he's a passive observer to events unfolding and the later he actively gets involved in the pressing of the button. Those last few episodes in which he finds himself destined to push the button almost seem as if the were a scramble to give the character something substantial to do. Don't get me wrong, I'm a big fan of Eko but I feel as if his character was completely mismanaged from the outside.
Only Bernard, who really doesn't do much himself, feels like a relevant addition from the tail section as he ties up the loose end regarding Rose's husband. Their reunion alone makes his introduction worth the effort.
The best new addition to the Lost cast is the person we see the least throughout the season – Desmond David Hume. His appearance in the first couple of episodes of the season were used solely to introduce the concept of the button but his flashback and story in the two hour finale presented an intriguing new character. He's a hopeless romantic on a quest to regain his honor and reunite with his true love. Desmond's story is leaps and bounds more exciting than the rest of the new cast.
With such a large returning cast and four new regulars to juggle it's understandably tough to keep every character's story engaging. While I expect characters like Jin, Sun and Claire to fade into the background on a regular basis I was a little surprised to find myself losing interesting in core characters. Kate Austen was given very little to do this season besides being involved in an uninspired love triangle between Sawyer and Jack. At one point Jack makes it a point to purposefully keep her out of the loop due to his lack of trust in her judgment.
The introduction of the tail section characters does serve a purpose early in the season as it reinforces the Others as formidable villains. While the survivors on the beach have had it relatively easy, the tailies experience 48 days of hell in which their numbers shrink to a handful. Beyond that, Libby slides into a cute love story with Hurley while Ana Lucia stands around and takes up space until she is shot to death by Michael. Neither contributes a substantial amount to the season or the series besides being canon fodder for Michael.
As for Mr. Eko, he does have a couple of good flashback episodes but it also feels like the writers are never quite sure what to do with him. At some points he's a passive observer to events unfolding and the later he actively gets involved in the pressing of the button. Those last few episodes in which he finds himself destined to push the button almost seem as if the were a scramble to give the character something substantial to do. Don't get me wrong, I'm a big fan of Eko but I feel as if his character was completely mismanaged from the outside.
Only Bernard, who really doesn't do much himself, feels like a relevant addition from the tail section as he ties up the loose end regarding Rose's husband. Their reunion alone makes his introduction worth the effort.
The best new addition to the Lost cast is the person we see the least throughout the season – Desmond David Hume. His appearance in the first couple of episodes of the season were used solely to introduce the concept of the button but his flashback and story in the two hour finale presented an intriguing new character. He's a hopeless romantic on a quest to regain his honor and reunite with his true love. Desmond's story is leaps and bounds more exciting than the rest of the new cast.
With such a large returning cast and four new regulars to juggle it's understandably tough to keep every character's story engaging. While I expect characters like Jin, Sun and Claire to fade into the background on a regular basis I was a little surprised to find myself losing interesting in core characters. Kate Austen was given very little to do this season besides being involved in an uninspired love triangle between Sawyer and Jack. At one point Jack makes it a point to purposefully keep her out of the loop due to his lack of trust in her judgment.
To be completely honest, Jack's story arc this season isn't that memorable as well. He continues to be the reluctant leader who is now a little more comfortable in his role. Most of his time is spent reacting to everything else that is happening on the island whether it be the imprisonment of Henry Gale, Sawyer stealing weapons or the Others kidnapping Walt. He's essentially fighting a battle on multiple fronts and is clearly stretched thin. Jack's biggest and most interesting battle continues to be with John Locke, whose inferiority complex puts him at odds with Jack on more than one occasion.
Locke's journey this season doesn't really start to get interesting until the introduction of Henry Gale. For the first half of the season we get to see Locke at his most confident. He's finally opened his hatch and discovered a bevy of new treasures inside to support his claims that the island and his connection to it are part of some much larger destiny. However, Gale's arrival brings with it seeds of doubt as John's world begins to fall apart. This culminates in the discovery of the Pearl Station and Locke's complete loss of faith in the button and the island. It's a good journey that has a great conclusion in the finale.
I really enjoyed Sawyer's return to form midway through this season. Sure it didn't make much sense for Sawyer to turn the entire camp against him in "The Long Con" but it was one of my favorite story lines of the season. His return to a nastier, less fan-friendly Sawyer was short lived however as he fairly quickly crept back into the good graces of the rest of the group.
Michael's battle to get Walt back from the Others had him depart midway through the season but his return in the final few episodes of the season were thoroughly entertaining. His murder of Ana Lucia and Libby gave way to an interesting game of deception as Michael is forced to convince the survivors that Henry was behind their deaths. His absolutely disgust in himself for taking a life mixed with the continued desperation he has to reunite with his son makes for some of the best character moments of the entire season. Harold Parrineau does a fantastic job of portraying Michael's spastic range of emotions in those final few episodes.
The real gem of this season and my favorite story arc is the introduction of Michael Emerson as Henry Gale. He spends most of his time confined in the Swan Station but that doesn't stop him from being a formidable foe for the survivors of Flight 815. With the survivors fractured and keeping secrets from one another, Henry frequently manages to turn one survivor against the other. He's favorite prey is John Locke who we already know is quite susceptible to snide comments and underhanded suggestions. Henry turns Locke inside out and uses him against Jack causing the group of survivors to lose focus. Its brilliant to watch unfold and Emerson brings a lot of weight to the role. Henry's storyline is one of the reasons I will continue to go back to Season Two in the future.
Mixed in with some great character work this season is the story of Charlie Pace. Early to midway through the season his addiction to heroin is rekindled as a plot point and while it is never established that he actually started using the drug again, he finds himself 'outed' as an addict. This leads to his exile from the group (which means moving further down the beach) and his need to wear a hood. This storyline felt entirely unnecessary and eventually went nowhere as Charlie eventually reunites with Claire and all is forgiven without the character really having to do much of anything.
Where Season Two really struggles is building upon the first season. There's no doubt that the first season was a true gem and established Lost as a great television show but with the cornucopia of questions it left dangling you'd hope that at least some of them would be expanded upon. Answers aren't necessarily the issue here. The mystery itself doesn't expand much beyond the first season. Yes, we do discover what is in the infamous hatch and we do eventually learn what the button does but there isn't much beyond that. The mystery of the smoke creature isn't expanded upon and we're given a slightly closer look at the Others but we don't really learn much more about them beyond what we knew from the first season. Beyond the great character work and some interesting storylines, the overall arc meanders instead of expanding into something larger.
There is one notable exception however – the introduction of the DHARMA Initiative. We discover that the hatch was built by them and as the season progresses we discover other DHARMA stations littered around the island. Their introduction is one of the stronger aspects of the second season as it expands the Lost universe and gives us a glimpse of the island's history.
Despite multiple flaws, it's still hard to deny that Season Two of Lost is an entertaining season of television and a must watch if you're a fan of the show. It just happens to be the series' weakest point but if this is the worst the show has to offer than there really isn't that much to worry about.
Locke's journey this season doesn't really start to get interesting until the introduction of Henry Gale. For the first half of the season we get to see Locke at his most confident. He's finally opened his hatch and discovered a bevy of new treasures inside to support his claims that the island and his connection to it are part of some much larger destiny. However, Gale's arrival brings with it seeds of doubt as John's world begins to fall apart. This culminates in the discovery of the Pearl Station and Locke's complete loss of faith in the button and the island. It's a good journey that has a great conclusion in the finale.
I really enjoyed Sawyer's return to form midway through this season. Sure it didn't make much sense for Sawyer to turn the entire camp against him in "The Long Con" but it was one of my favorite story lines of the season. His return to a nastier, less fan-friendly Sawyer was short lived however as he fairly quickly crept back into the good graces of the rest of the group.
Michael's battle to get Walt back from the Others had him depart midway through the season but his return in the final few episodes of the season were thoroughly entertaining. His murder of Ana Lucia and Libby gave way to an interesting game of deception as Michael is forced to convince the survivors that Henry was behind their deaths. His absolutely disgust in himself for taking a life mixed with the continued desperation he has to reunite with his son makes for some of the best character moments of the entire season. Harold Parrineau does a fantastic job of portraying Michael's spastic range of emotions in those final few episodes.
The real gem of this season and my favorite story arc is the introduction of Michael Emerson as Henry Gale. He spends most of his time confined in the Swan Station but that doesn't stop him from being a formidable foe for the survivors of Flight 815. With the survivors fractured and keeping secrets from one another, Henry frequently manages to turn one survivor against the other. He's favorite prey is John Locke who we already know is quite susceptible to snide comments and underhanded suggestions. Henry turns Locke inside out and uses him against Jack causing the group of survivors to lose focus. Its brilliant to watch unfold and Emerson brings a lot of weight to the role. Henry's storyline is one of the reasons I will continue to go back to Season Two in the future.
Mixed in with some great character work this season is the story of Charlie Pace. Early to midway through the season his addiction to heroin is rekindled as a plot point and while it is never established that he actually started using the drug again, he finds himself 'outed' as an addict. This leads to his exile from the group (which means moving further down the beach) and his need to wear a hood. This storyline felt entirely unnecessary and eventually went nowhere as Charlie eventually reunites with Claire and all is forgiven without the character really having to do much of anything.
Where Season Two really struggles is building upon the first season. There's no doubt that the first season was a true gem and established Lost as a great television show but with the cornucopia of questions it left dangling you'd hope that at least some of them would be expanded upon. Answers aren't necessarily the issue here. The mystery itself doesn't expand much beyond the first season. Yes, we do discover what is in the infamous hatch and we do eventually learn what the button does but there isn't much beyond that. The mystery of the smoke creature isn't expanded upon and we're given a slightly closer look at the Others but we don't really learn much more about them beyond what we knew from the first season. Beyond the great character work and some interesting storylines, the overall arc meanders instead of expanding into something larger.
There is one notable exception however – the introduction of the DHARMA Initiative. We discover that the hatch was built by them and as the season progresses we discover other DHARMA stations littered around the island. Their introduction is one of the stronger aspects of the second season as it expands the Lost universe and gives us a glimpse of the island's history.
Despite multiple flaws, it's still hard to deny that Season Two of Lost is an entertaining season of television and a must watch if you're a fan of the show. It just happens to be the series' weakest point but if this is the worst the show has to offer than there really isn't that much to worry about.
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Lost's third season had a rocky start and suffered from raising far too many questions while resolving very little - A complaint that the show has garnered quite frequently. But something changed halfway through the season. Suddenly, it seemed like the writers and producers had been listening to fan concerns as they successfully resolved many lingering plot points and gave us a renewed interest in the series' core mysteries.
This season is easily broken down into two separate parts; the first six episodes that aired before an eight week hiatus and then the rest of the season. Even though the first six are considered part of the third season, they feel much more like a prologue. Very little time is spent with the survivors on the beach and the main focus of the story is Jack (Matthew Fox), Kate (Evangeline Lilly) and Sawyer's (Josh Holloway) imprisonment by the Others. These episodes did have their moments (fish biscuits anyone?) but ultimately they felt like one big tease with very little being resolved and more answers surfacing. Sounds like typical Lost, right? Well it seemed at the time that fans had had enough as ratings began to slip and a backlash against the series began mounting. Even ABC appeared to be losing faith in their show as they shifted Lost to the ten o'clock timeslot and away from the ever so popular American Idol. This is when everything changed.
The best way to describe the show's resurgence in season three's second half is to look back at an article we did here on IGN in November of 2006. IGN TV published 50 Lost Loose Ends and to be honest it wouldn't have been surprising if we could have come up with 50 more. Out of those 50 loose ends, around seven have been answered. Now that may not seem like a significant amount but when we are dealing with subjects such as the origin of Locke's (Terry O'Quinn) paralysis, "Why do the Others want children?" and the radio tower, it's hard to be disappointed. On top of that, there were several more loose ends dealt with in a significant capacity and numerous other mysteries explored that weren't even on the list. Not bad for a show that is often criticized for not delivering answers.
The second half of the season also featured some of the show's best episodes to date. Including the brilliantly told "Flashes Before Your Eyes", which is an interesting twist on Lost's somewhat stale flashback scenario. Other episodes like "The Man from Tallahassee" and "The Brig" answered long asked questions while "The Man Behind the Curtain" and "One of Us" gave us a much needed back-story on both Ben (Michael Emerson) and Juliet (Elizabeth Mitchell). LOST SEASON..3..
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This season is easily broken down into two separate parts; the first six episodes that aired before an eight week hiatus and then the rest of the season. Even though the first six are considered part of the third season, they feel much more like a prologue. Very little time is spent with the survivors on the beach and the main focus of the story is Jack (Matthew Fox), Kate (Evangeline Lilly) and Sawyer's (Josh Holloway) imprisonment by the Others. These episodes did have their moments (fish biscuits anyone?) but ultimately they felt like one big tease with very little being resolved and more answers surfacing. Sounds like typical Lost, right? Well it seemed at the time that fans had had enough as ratings began to slip and a backlash against the series began mounting. Even ABC appeared to be losing faith in their show as they shifted Lost to the ten o'clock timeslot and away from the ever so popular American Idol. This is when everything changed.
The best way to describe the show's resurgence in season three's second half is to look back at an article we did here on IGN in November of 2006. IGN TV published 50 Lost Loose Ends and to be honest it wouldn't have been surprising if we could have come up with 50 more. Out of those 50 loose ends, around seven have been answered. Now that may not seem like a significant amount but when we are dealing with subjects such as the origin of Locke's (Terry O'Quinn) paralysis, "Why do the Others want children?" and the radio tower, it's hard to be disappointed. On top of that, there were several more loose ends dealt with in a significant capacity and numerous other mysteries explored that weren't even on the list. Not bad for a show that is often criticized for not delivering answers.
Really, the only weak point of the final sixteen-episode run would be "Stranger in a Strange Land", an episode that primarily focused on the origins and meaning of Jack's tattoo. We still don't really understand the significance and we're not too sure if the writers do either as they never bring up the subject again for the rest of the season. Even "Expos¿", an episode that featured fan-hated Nikki (Kiele Sanchez) and Paulo (Rodrigo Santoro), told an interesting "Twilight Zone" style story and we couldn't be happier with the conclusion.
If you were to suggest that the theme for season one was man vs. the unknown and that season two's was man vs. machine (the button), it would be fair to suggest that the theme for season three is man vs. man, as the main crux of the season deals with the survivors of Flight 815 dealing with the Others. There is a constant power struggle between the two groups and the narrative frequently shifts back and forth from the Others camp to the survivor's beach. Intertwined throughout, are personal struggles for several of the characters in both camps and we realize as the story pushes forward that even though they are enemies, their survival appears to be dependant on each other.
At the core of this struggle is Benjamin Linus, and it would be a sin not to mention Michael Emerson's fantastic performance as the enigmatic leader of the Others. He never once falters in portraying a creepy and unnerving nemesis for the survivors of Flight 815 and in particular, John Locke. Terry O'Quinn puts in an equally inspired performance and every time these two appeared on screen together, you knew something special was about to happen.
Everything culminates in what can be described as one of the best season finales in recent memory. Carlton Cuse and Damon Lindelof deliver a brilliantly told story that is full of emotion, suspense and action, with a conclusion that could very well change the way Lost stories are told in season four. It also features, Sayid (Naveen Andrews) breaking a guy's neck with his legs. Really, who doesn't want to see that?
Some have argued that Lost is a show best watched on DVD; a sound argument when you consider all the minute details that every episode presents. Even with ABC showing the episodes consecutively, a move we applaud them for, the show's narrative is far too complex and you're simply not going to remember everything you need to know to fully appreciate the story. Those of you who gave up on the series early on during the third season will benefit from the DVD release, as you'll be able to finally see what all the fuss was about in the latter half of the season. Maybe, next time you won't quit on a series quite so soon.
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LOST SEASON..4..
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The "flash-forward" at the end of last season introduced an exciting new way in which Lost stories could be told. The use of these flash-forwards continues through the fourth season, revealing that even more Oceanic survivors made it off the island and also introduces an intriguing conspiracy of silence regarding those who weren't so lucky. This storyline is the backbone of the fourth season as we discovered who was fortunate enough to escape the island and who was left behind. This is arguably the series' best story arc since the mystery surrounding the hatch and is a well-developed, tightly paced narrative that actually has a satisfying conclusion at the end of the season. Don't expect everything to be answered, this is Lost after all, but the story comes together quite nicely.
The benefit of a shortened schedule is apparent and this season has far less "filler" than previous outings. Less episodes means that every minute of screen time becomes that much more precious and the outcome is a season that doesn't have what we'd consider a bad episode in the bunch. Even this season's Kate-centric episode is decent when compared to previous years' worst outings. There are plenty of episodes that you will want to revisit here, including the pivotal "The Constant" that is a game-changer when it comes to the series' mythology. It also features Henry Ian Cusick's best performance as Desmond to date and one of the more memorable Michael Giacchino scores. The rest of the season is filled to the brim with moments that will have any Lost fan riveted.
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LOST SEASON..5..
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Lost successfully made the transition into the realm of science fiction with classic episodes like "The Constant" and of course, making the island literally disappear in "There's no Place Like Home." Season 5 dives head first into weighty science fiction concepts with time travel playing a major role in the narrative for the entire year. There are inherent risks with introducing time travel into a story that is already as complex as the one Lost has become over the past few years. For the most part, the writers do a good job of keeping the time travel aspect of the story from becoming too complicated, but there is no dispute that it is the driving force of the season's narrative.
The first half of the season is comprised of two very distinct storylines. One of those being Jack Shephard's desperate attempt to reunite the Oceanic Six in order to return to the island and the other being the journey of those left behind as they find themselves inexplicably traveling through time.
The Oceanic Six storyline is definitely the weaker of the two. The story of the Six, hours before they return to the island was weakened by a slow start with the somewhat Hurley-centric "The Lie." This is an episode that featured a little too much of Hugo Reyes' wacky exploits as he transports an unconscious Sayid around Los Angeles. The rest of the Oceanic Six story is essentially a waiting game as we watch the pieces fall into place so that these characters can return to where we really want them to be – on the island. In fact, their return to the island in "316" feels rushed, almost as if the writers realized that the best place for these characters is back on the island.
Maybe if they injected more of the mystery into the off-island story that can be found on the island it would have been much more compelling but unfortunately only a few stories stand out. Desmond's quest to find Daniel Faraday's mother is an intriguing journey but isn't given as much screen time as the story deserved. In fact, Desmond fans might find themselves a little disappointed as he is woefully underused this season.
The first half of the season is comprised of two very distinct storylines. One of those being Jack Shephard's desperate attempt to reunite the Oceanic Six in order to return to the island and the other being the journey of those left behind as they find themselves inexplicably traveling through time.
The Oceanic Six storyline is definitely the weaker of the two. The story of the Six, hours before they return to the island was weakened by a slow start with the somewhat Hurley-centric "The Lie." This is an episode that featured a little too much of Hugo Reyes' wacky exploits as he transports an unconscious Sayid around Los Angeles. The rest of the Oceanic Six story is essentially a waiting game as we watch the pieces fall into place so that these characters can return to where we really want them to be – on the island. In fact, their return to the island in "316" feels rushed, almost as if the writers realized that the best place for these characters is back on the island.
Maybe if they injected more of the mystery into the off-island story that can be found on the island it would have been much more compelling but unfortunately only a few stories stand out. Desmond's quest to find Daniel Faraday's mother is an intriguing journey but isn't given as much screen time as the story deserved. In fact, Desmond fans might find themselves a little disappointed as he is woefully underused this season.
The aptly named "The Life and Death of Jeremy Bentham" is the best episode that takes place almost entirely off the island. The story chronicles John Locke's attempt to convince the Oceanic Six that they need to return to the island in order to save those left behind. It's a tragic story for John Locke who has spent the last four seasons in the belief that the survivors of Flight 815 are tied by a single destiny but only in death does he finally make people believe. It's a well-scripted story and wonderfully acted by Terry O'Quinn who does a great job of portraying an interesting transition for Locke on screen.
Locke isn't the only one who goes through a transition this season as Benjamin Linus is forced into a situation that is quite surprising for the character. Without delving into too much detail, the dynamic between Locke and Ben changes quite a bit but the great chemistry between O'Quinn and Michael Emerson is still as exceptional as it has always been. Linus fans should not be disappointed by some of the great developments for the character this season.
Locke isn't the only one who goes through a transition this season as Benjamin Linus is forced into a situation that is quite surprising for the character. Without delving into too much detail, the dynamic between Locke and Ben changes quite a bit but the great chemistry between O'Quinn and Michael Emerson is still as exceptional as it has always been. Linus fans should not be disappointed by some of the great developments for the character this season.
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LOST SEASON..6..(FINAL SEASON)..
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Season 6 of Lost is quite possibly the most scrutinized season of television in history. With both longtime fans of the series and curious outsiders wondering if this season would deliver both on answers and a satisfying conclusion, series show runners Damon Lindelof and Carlton Cuse had an incredible task on their hands. With an edge-of-your-seat conclusion to Season 5, the small band of survivors we've grown to love set out on their final journey against a villainous shape shifter on an island of mystery.
In Season 4, "The Constant" established Lost as a science fiction series when it introduced time travel into the equation. From that point forward, until the conclusion of Season 5, the series maintained and expanded on that concept by sending the survivors hurtling through time until they eventually landed in 1974 (or 1977, for those on Ajira 316). Season 6 drops the time travel story completely and introduces a different sci-fi concept: alternate realities. It appears that the detonation of Jughead in "The Incident" created a parallel universe in which events played out slightly different and Oceanic Flight 815 never crashed.
In Season 4, "The Constant" established Lost as a science fiction series when it introduced time travel into the equation. From that point forward, until the conclusion of Season 5, the series maintained and expanded on that concept by sending the survivors hurtling through time until they eventually landed in 1974 (or 1977, for those on Ajira 316). Season 6 drops the time travel story completely and introduces a different sci-fi concept: alternate realities. It appears that the detonation of Jughead in "The Incident" created a parallel universe in which events played out slightly different and Oceanic Flight 815 never crashed.
Much like flash-backs and flash-forwards, we experience this parallel universe through a series of "centric" flash-sideways featuring the lives of these characters as if the crash had never happened. This gives Lindelof and Cuse a unique opportunity to reexamine the lives of these characters from a completely different perspective. One of the issues I had with Season 5 was that important character development took a backseat to science fiction. Those issues are corrected in Season 6, with the flash-sideways giving us incredibly important character moments and an intriguing new story that's both surprising and engaging.
With each "centric" flash-sideways story, parallels are drawn to the character's plight while they are on the island. This relationship between timelines establishes a key connection between both storylines that give the flash-sideways an importance outside of simply being a different perspective on how things could have ultimately played out. Connections between the two universes are explored more thoroughly as the series progresses and we do ultimately get a resolution to the flash-sideways storyline. How satisfying that resolution is will ultimately be based on a number of factors that stem from your own expectations. In other words, it's a polarizing conclusion to a very unique story and you're probably either going to love it or hate it. I loved the way the flash-sideways story ended because it satisfied my need for closure, but I can understand why there are those who weren't satisfied. The reveal that the flash-sideways has been taking place in a purgatory of sorts, of the characters' own design, is a surprising conclusion and some may feel that earlier events in the season don't do enough to establish these shocking final moments.
With each "centric" flash-sideways story, parallels are drawn to the character's plight while they are on the island. This relationship between timelines establishes a key connection between both storylines that give the flash-sideways an importance outside of simply being a different perspective on how things could have ultimately played out. Connections between the two universes are explored more thoroughly as the series progresses and we do ultimately get a resolution to the flash-sideways storyline. How satisfying that resolution is will ultimately be based on a number of factors that stem from your own expectations. In other words, it's a polarizing conclusion to a very unique story and you're probably either going to love it or hate it. I loved the way the flash-sideways story ended because it satisfied my need for closure, but I can understand why there are those who weren't satisfied. The reveal that the flash-sideways has been taking place in a purgatory of sorts, of the characters' own design, is a surprising conclusion and some may feel that earlier events in the season don't do enough to establish these shocking final moments.
On closer examination of the flash-sideways, it's a tough call and those who find themselves a little frustrated with the sudden twist do have an argument. There aren't many hints dropped that suggest the flash-sideways is anything more than an alternate universe. There are a few however, with one of the more subtle coming early in the season, as Juliet (Elizabeth Mitchell) shuffles off this mortal coil. As Juliet passes, she says, "We can get coffee some time." It's a strange line at the time and could easily be dismissed, but it also suggested that she may have passed into the alternate universe. Only in the finale do we truly discover the context of that conversation and even then there is no implicit suggestion that the place they are in is the afterlife. Yes, the line was initially a little ambiguous, but I think no one correlated it with the possibility of her soul entering the afterlife because nobody was honestly looking for it.
There was another opportunity with Sayid (Naveen Andrews) to draw a parallel between death and entering the alternate universe, but unfortunately it was never explored. With Sayid's death and resurrection in "LA X" it would stand to reason that he should have made a connection with the other side. However, he never mentions experiencing another life after he died. But what if Sayid went to the other side and saw himself as a killer, leaving him distraught when he returned because he felt the version he saw of himself in that world proved he was nothing more than a murderer? This would explain why he was so emotionally numb soon after his return and why he was willing to barter with the Man in Black to return to the one he loved most. Sayid's not stupid; he knew that the Man in Black had every intention of killing him, which would give Sayid exactly what he wanted, a chance to change events on the other side. Nothing is ever explicitly laid out and at the end of the day it's only one flawed theory amongst many, but it's this kind of subtlety in storytelling that sets Lost a part from the rest of the pack. There remains so much to interpret throughout the series that there is still plenty of enjoyment to gain from multiple viewings.
There was another opportunity with Sayid (Naveen Andrews) to draw a parallel between death and entering the alternate universe, but unfortunately it was never explored. With Sayid's death and resurrection in "LA X" it would stand to reason that he should have made a connection with the other side. However, he never mentions experiencing another life after he died. But what if Sayid went to the other side and saw himself as a killer, leaving him distraught when he returned because he felt the version he saw of himself in that world proved he was nothing more than a murderer? This would explain why he was so emotionally numb soon after his return and why he was willing to barter with the Man in Black to return to the one he loved most. Sayid's not stupid; he knew that the Man in Black had every intention of killing him, which would give Sayid exactly what he wanted, a chance to change events on the other side. Nothing is ever explicitly laid out and at the end of the day it's only one flawed theory amongst many, but it's this kind of subtlety in storytelling that sets Lost a part from the rest of the pack. There remains so much to interpret throughout the series that there is still plenty of enjoyment to gain from multiple viewings.
"Happily Ever After" stands out as the episode that had the most impact on both universes. Living, breathing Desmond David Hume (Henry Ian Cusick) has his consciousness transported into what we now know to be the afterlife and acts as the genesis for everything that happens in the "flash-sideways" realm after his departure. If Desmond is never zapped with a high amount of electromagnetism (the new answer to everything), how would the Losties have ever found the closure they needed to let go? It's probable that in time they would have all found each other but Desmond certainly accelerated the process.
Desmond is also the catalyst for most events that occur leading up to and including the finale. He's seen as nothing more than a tool by those around him; a means to an end. However, Desmond is infused with his own sense of purpose. With the events he experienced in the other universe infecting his mind, Desmond sets out to free those remaining on the island from their pain and suffering and take them to a better place. It's funny how both Desmonds are essentially driven by the same goal, with only one succeeding. But Desmond's error on the island gives Jack and Kate (Evangeline Lilly) the window they need to stop the Man in Black.
Desmond is also the catalyst for most events that occur leading up to and including the finale. He's seen as nothing more than a tool by those around him; a means to an end. However, Desmond is infused with his own sense of purpose. With the events he experienced in the other universe infecting his mind, Desmond sets out to free those remaining on the island from their pain and suffering and take them to a better place. It's funny how both Desmonds are essentially driven by the same goal, with only one succeeding. But Desmond's error on the island gives Jack and Kate (Evangeline Lilly) the window they need to stop the Man in Black.
It's that exploration of the duality of these characters that makes the flash-sideways universe a brilliant storytelling mechanic. By taking the plane crash out of the equation, we are taken back to the very roots of these characters, when they are still burdened by their respective problems. Those mirror shots that were so prominent in the flash-sideways weren't there to simply represent both universes - they show us that these characters are conflicted. They live out one life while suppressing another part of themselves completely.
James "Sawyer" Ford (Josh Holloway) may have chosen to be a cop in this universe but he's essentially still the same man with a vendetta that we've known for years. John Locke, bound by a wheelchair, still seeks that freedom he found on the island but refuses to let go because of what he did to his father. There are examples of this for every character featured in the flash-sideways and they play an important part in "The End" as each of them must let go of that part of their psyche which is holding them back. They must strip that duality away and accept who they truly are.
James "Sawyer" Ford (Josh Holloway) may have chosen to be a cop in this universe but he's essentially still the same man with a vendetta that we've known for years. John Locke, bound by a wheelchair, still seeks that freedom he found on the island but refuses to let go because of what he did to his father. There are examples of this for every character featured in the flash-sideways and they play an important part in "The End" as each of them must let go of that part of their psyche which is holding them back. They must strip that duality away and accept who they truly are.
While the flash-sideways offers up a fascinating alternate take on the lives of these characters, the story that most are primarily interested in, and rightfully so, are events taking place on the island. Season 6 offers up a fantastic adventure, pitting those who Jacob (Mark Pellegrino) has brought to the island against a malevolent force that uses John Locke's face to manipulate some of the survivors and even some of the Others into following his path.
In the first two hours of Season 6 we learn that the Smoke Monster is Jacob's nemesis, a man who is commonly referred to as the Man in Black (played by both Terry O'Quinn and Titus Welliver). Anyone who has read the Dark Tower series is understandably experiencing a sense of Deja Vu right about now.
With Benjamin Linus (Michael Emerson) reexamining his place on the island, giving the series a new villain -- something/someone to pit the survivors against -- was paramount. The Man in Black fits that role perfectly, embodying many of the island's mysteries in one character. He's a brilliant and manipulative creature who will offer the survivors what they want most in exchange for their help. He's also a nuanced and intriguing villain who you'll find yourself feeling quite a bit of sympathy for throughout the season. Think of it as sympathy for the Devil, with the story doing an impecable job of fleshing out the Man in Black's motivations over the course of the season.
In the first two hours of Season 6 we learn that the Smoke Monster is Jacob's nemesis, a man who is commonly referred to as the Man in Black (played by both Terry O'Quinn and Titus Welliver). Anyone who has read the Dark Tower series is understandably experiencing a sense of Deja Vu right about now.
With Benjamin Linus (Michael Emerson) reexamining his place on the island, giving the series a new villain -- something/someone to pit the survivors against -- was paramount. The Man in Black fits that role perfectly, embodying many of the island's mysteries in one character. He's a brilliant and manipulative creature who will offer the survivors what they want most in exchange for their help. He's also a nuanced and intriguing villain who you'll find yourself feeling quite a bit of sympathy for throughout the season. Think of it as sympathy for the Devil, with the story doing an impecable job of fleshing out the Man in Black's motivations over the course of the season.
Terry O'Quinn, who spent most of the past five seasons playing John Locke, slips into his new role as the embodiment of dark temptation with ease. We actually saw him as the Man in Black last season, but even O'Quinn didn't realize that he was technically playing a different character until close to the finale. Here he's allowed to truly enjoy portraying a villain and it's obvious he's having a hell of a lot of fun in the role.
The Man in Black tests the survivors like never before. Offering them freedom, survival and even *gasp* answers to some of the island's more pressing mysteries. The way that the survivors respond to this temptation ultimately defines who they truly are, even if it takes them some time to make the right decision. Again, just like the flash-sideways, this gives us yet another fascinating new perspective on these characters. We see them at both their weakest and their strongest this season.
The Man in Black tests the survivors like never before. Offering them freedom, survival and even *gasp* answers to some of the island's more pressing mysteries. The way that the survivors respond to this temptation ultimately defines who they truly are, even if it takes them some time to make the right decision. Again, just like the flash-sideways, this gives us yet another fascinating new perspective on these characters. We see them at both their weakest and their strongest this season.
Besides the absorbing character development, there is plenty of action and suspense to keep the audience enthralled throughout the entire season. With the endgame fast approaching, no one is safe and as we all know, the show runners are not afraid to kill off characters you wouldn't expect or to put them in situations they've never been in before. There's no better example of this than with Jin (Daniel Dae Kim) and Sun (Yunjin Kim) who suffer through so much to finally reunite only to find themselves drowning to death in the belly of a sinking submarine. Their deaths, along with Sayid Jarrah's minutes before, represent one of the most shocking moments in the entire series.
As we discover part of the way through the season, the trials that these characters are going through tie into a much larger plan that Jacob has laid out. The concept of the Candidate is introduced early and we discover that Jacob has been brining people to the island over the years in order to find someone to eventually replace his position. Through this we learn that the infamous numbers; 4 (Locke), 8 (Reyes), 15 (Ford), 16 (Jarrah), 23 (Shephard), 42 (Kwon), represent a few of the last remaining survivors. This impacts the characters in different ways, with some resenting the fact their lives have been manipulated in such a way while one stands apart and embraces his place on the island.
As we discover part of the way through the season, the trials that these characters are going through tie into a much larger plan that Jacob has laid out. The concept of the Candidate is introduced early and we discover that Jacob has been brining people to the island over the years in order to find someone to eventually replace his position. Through this we learn that the infamous numbers; 4 (Locke), 8 (Reyes), 15 (Ford), 16 (Jarrah), 23 (Shephard), 42 (Kwon), represent a few of the last remaining survivors. This impacts the characters in different ways, with some resenting the fact their lives have been manipulated in such a way while one stands apart and embraces his place on the island.
Jack Shephard's (Matthew Fox) journey throughout the series has changed his character dramatically and now we know that it was preparing him for the trials he would have to endure at this point in the story. His transition from a Man of Science to a Man of Faith hasn't been an easy road but it changed him into the only man who could successfully continue in the footsteps of John Locke. Jack's character arc throughout the entire series culminates perfectly in the final few episodes as he accepts his destiny as Jacob's successor and does what needs to be done to stop the Man in Black.
There are a few characters who appear to be just along for the ride. Miles (Ken Leung), Ilana (Zuleikha Robinson) and Frank Lapidus (Jeff Fahey) never quite make an impact on the narrative and spend most of their time in the backdrop while others take the spotlight. While I've had trouble finding Ilana's story interesting from her introduction last season, more Miles and Lapidus focused scenes would have been much appreciated. Nobody puts Fahey in the corner!
Fantastic new set pieces including the oft-mentioned temple and the majestic cliffs add exciting new backdrops to an already visually impressive show. Mixed with what is arguably Michael Giacchino's best score of the series along with some great work by the series' directors and you have an audible/visual feast for the senses.
Season 6 does a good job of explaining some mysteries while others are left up to the viewer to dissect for years to come. Lindelof and Cuse begin to frustrate when they dangle that tempting carrot stick of answers a little too close to our noses. In "Across the Sea", the story shifts to a unique setting and subjects from the past are drudged up with the potential of answers at our fingertips. This potential is dangled in front of us only to have it ripped away with the story revealing very little at all. Did we need to know that the Man in Black created the donkey wheel if we weren't going to be given at least an inkling as to how he came up with the idea? "Across the Sea" is an interesting beast of an episode as it does offer up some key character development but had the potential to be a lot more. In contrast you have "Ab Aeterno" which tells a brilliant story about Richard Alpert's (Nestor Carbonell) past and offers much needed insight into the origins of his character and also shapes the way we view the purpose of the island.
There are a few characters who appear to be just along for the ride. Miles (Ken Leung), Ilana (Zuleikha Robinson) and Frank Lapidus (Jeff Fahey) never quite make an impact on the narrative and spend most of their time in the backdrop while others take the spotlight. While I've had trouble finding Ilana's story interesting from her introduction last season, more Miles and Lapidus focused scenes would have been much appreciated. Nobody puts Fahey in the corner!
Fantastic new set pieces including the oft-mentioned temple and the majestic cliffs add exciting new backdrops to an already visually impressive show. Mixed with what is arguably Michael Giacchino's best score of the series along with some great work by the series' directors and you have an audible/visual feast for the senses.
Season 6 does a good job of explaining some mysteries while others are left up to the viewer to dissect for years to come. Lindelof and Cuse begin to frustrate when they dangle that tempting carrot stick of answers a little too close to our noses. In "Across the Sea", the story shifts to a unique setting and subjects from the past are drudged up with the potential of answers at our fingertips. This potential is dangled in front of us only to have it ripped away with the story revealing very little at all. Did we need to know that the Man in Black created the donkey wheel if we weren't going to be given at least an inkling as to how he came up with the idea? "Across the Sea" is an interesting beast of an episode as it does offer up some key character development but had the potential to be a lot more. In contrast you have "Ab Aeterno" which tells a brilliant story about Richard Alpert's (Nestor Carbonell) past and offers much needed insight into the origins of his character and also shapes the way we view the purpose of the island.
Answers to less pressing questions, such as the source of the mysterious whispers, are sprinkled throughout the season - some satisfying, some forced, but all providing a better understanding of what is occurring on the island. For some, the real fun will begin after the credits roll on the final episode, as there is a lot left to speculate about. Others will find themselves frustrated that some nagging questions weren't tied up as hoped. There are answers this season; you just have to be willing to accept that we won't get explanations for all the mysteries of the island.
Lost: Season 6 is a strong conclusion to what has been an extraordinary series. All the elements that made the past five seasons so great are here, with the added bonus of this being the final season and the stakes being raised for all the characters. Whether or not the answers provided are satisfying or cover enough ground will vary drastically for different viewers, but ultimately, Lost: Season 6 delivers closure on a story that has captivated us for so long.
Lost: Season 6 is a strong conclusion to what has been an extraordinary series. All the elements that made the past five seasons so great are here, with the added bonus of this being the final season and the stakes being raised for all the characters. Whether or not the answers provided are satisfying or cover enough ground will vary drastically for different viewers, but ultimately, Lost: Season 6 delivers closure on a story that has captivated us for so long.
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