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The runaway hit of ABC’s 2004-2005 TV season, the weekly, hour-long drama Lost TV Show began at a point that in any other case may have been an ending: a passenger jet was torn apart in mid-air, crashing on an uncharted Pacific Island. Stripped of all vestiges of the civilized world, the 48 survivors were forced to fend for themselves in their new tropical surroundings, which departed from the “norm” for similar castaway dramas by boasting a bizarre and frequently incomprehensible topography, not to mention a most unusual variety of wildlife.
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‘Lost’: Do No Harm
There are episodes of Lost we all love, cherish, and can recite on cue. Then there are others we barely remember, those that don’t ring a bell, or those that simply make us draw a blank when they are referenced. “Do No Harm” is one of those latter episodes for me. I remember the big two events, but other than that, it was a total blur to me before sitting down again tonight to rewatch it.
And now I know why I was so fuzzy on it: because this episode made me want to curl up into a ball and die with all the overly realistic ways in which Jack tries to keep Boone alive. Sweet Jeebus, this is not my cup of tea. I can fairly say that I purposefully forgot the details of this episode just so I could get a peaceful night of sleep. Oh well, the sacrifices I make for you, the readers at home. Hope you can sleep well tonight, even if I can’t.
Do No Harm
4) In Short
“Boone falls up the plane, Boone falls down the plane.”
On the Island
It’s literally right after the events of “Deus ex Machina,” with people frantically trying to help Boone. Jack co-opts Sun as his primary assistant, while ordering others to get the necessary equipment needed to help him. But everything stops when Boone’s lung collapses, forcing Jack to literally drive a hole into Boone’s chest. All together now: holy crap. Jack assures Boone that he will save him. Unfortunately, he cannot rebuild him, in that he does not have the technology.
On the beach, Claire asks Michael how long until the raft will be complete. Michael thinks it’s a week from being done. Jin works through the impromptu lunch break, as if a man possessed. Kate interrupts the lunch, seeking all the alcohol in Sawyer’s stash. Sawyer offers to help, but Kate insists they have enough people in the caves.
In the caves, they’ve set up a makeshift surgical ward. Boone needs a blood transfusion, but Jack decides to set his leg first. Sun essentially sends Jack from the ward, to get some air. Jack walks smack dab into a panicked Charlie, who prompts Jack to lose his cool thanks to his insistent questioning. Sun’s on point, luckily, providing a stick for Boone to chomp down on as OH MY GOD JACK JUST REBROKE HIS LEG AND EEEK THIS IS WHY I COULD NEVER BE A DOCTOR OH MOMMY MOMMY HOLD ME.
Kate manages to trip, fall, and bust open every nip of alcohol in her bag in her rush to get back to the caves. However, she manages to come across Claire, who, as luck would have it, is in labor. This is like a sweeps episode of E.R. at this point. Kate shouts for help, and the only person who hears her is Jin. He bounds into the jungle, because he’s Jin and he’s effin’ awesome. He eventually comes upon the scene, and instantly regrets his inner morality. Seriously, his initial “Oh!” is one of my favorite Season 1 moments.
Back in the caves, Sun continues to play “Calm Doc” and Jack plays “Pretty Much Freaking Out Doc.” Boone reveals his blood type (A negative), which sends Sun on a scavenger hunt. Jack tells her to find Shannon as well. Too bad she’s out in the jungle with Sayid. Nice to see the show remembered it forced these two into a relationship that nobody bought. Awww, Sayid set up a surprise fire-lit picnic date! Kick me in the face.
Back at the Caves of Pain and Misery, the group’s having little to no luck finding blood. If you want a comparison, think about the trouble Ian Somerhalder had finding work after this episode. Once again, Sun saves the day, finding a sea urchin with spines that could function as needles. Sun’s batting 1.000 so far in this episode. Turns out Jack himself is O negative, a universal donor. That’s good. Course, his blood could also send Boone into shock, never mind render Jack woozy and unable to operate at peak performance. That’s bad. Much like the cursed frogurt from The Simpsons, there are pros and cons to this.
Jin runs into the caves to find Jack, and it’s hard to tell what he’s more surprised by seeing: Boone on the makeshift table or his wife as his makeshift nurse. Fantastic moment. The camera pans slowly over the impromptu IV drip, and now I remember that I blocked all this out because I get all Hurley around blood. Jin drops the Claire knowledge, leading to a series of awkward exchanges all around. All the while, Jack gets woozier and woozier. This is the first time Jack and I have ever had anything in common. Jack gets Charlie all the necessary instructions for childbirth, as he won’t be able to leave Boone’s side.
In the jungle, Claire’s water breaks. In the caves, Boone’s silence breaks. Boone tells Jack about the plane that fell on him, which piques Jack’s interest. Mention of a “hatch” further confuses Jack. After that, all Boone can do is mutter his sister’s name, but she’s too busy making googly eyes with the Iraqi down at Craphole Island’s equivalent of Sandals. Shannon finally tells Sayid her relationship with Boone (at least, the PG version of it).
Charlie and Jin catch up to Claire and Kate. Ms. Austen freaks more than a little out when she realizes she has to deliver the baby. Claire freaks out that there might be something wrong with the baby. And back in the caves, Jack freaks out that he might not actually be able to save Boone. As Charlie might sing, “Freak out, everybody!”
Jack realizes that Boone’s leg is undoing all the work from the transfusion. Sun stops Jack from donating more (Sun doubles down the line!), which prompts a now very sallow Jack to ask Hurley to fetch Michael from the beach. The two men ponder the age old question of, “What remaining tool in our arsenal is best equipped to chop a man’s leg off?” Remember when the show was devoid of hatches, bungalows, and food drops? The show featured a lot of this type of stuff. No wonder Dharma constructed New Otherton. They couldn’t take this type of lifestyle either.
Claire’s trying to hold her breath to stop the contractions. She fears her child will intuitively know she tried to give it away. Kate steps up, Sun-like, and helps convince Claire to push for the sake of her, her child, and the Lostaways as a whole. Some of Evangeline’s best work of the season here.
Welcome to Amputation Theatre. I swear to God, this scene plays tense as hell, but not as tense as the first time, where I further swear to God I was convinced they were going to actually go through with this and turn Boone into an emo version of Lt. Dan from Forrest Gump. Luckily, they didn’t, and you could surmise that fact by noting I am alive and not very dead, having been felled by a heart attack when this initially aired. And who stops it? Boone, who is put into the awkward position of telling Jack to let him die, that he’s “letting [him] off the hook.”
Cue Elton John, as the circle of life turns fully: Boone dies as Claire’s son is born. It’s a magnificent sequence not simply for the two plots converging so nicely but for watching people we’ve grown to know (a little) and love (a lot) share the most important moments of their lives together, celebrating life with each other and seeking solace from grief in each other.
The following morning, a wordless sequence in which Claire’s child is presented to the Lostaways. Joy turns to grief as Shannon and Sayid return from their romantic excursion, with Jack relaying the bad news to the couple as the quintessential Lost musical motif plays. Freakin’ motif makes me cry every time.
Jack declares the baby fit as a fiddle to Kate. He also declares one other thing: his intention to find John Locke, whom he believes murdered Boone. Looks like Jack and Locke might have a bit of an argument brewing, wouldn’t you say?
15) Off the Island
Jack’s tying a bowtie onto his friend Sullivan, dressed in a tux. It’s Jack’s wedding day. Well, it will be soon, at least. For now, we have the rehearsal dinner, in which Sarah, Jack’s fiancée, tells the story of how they met. It’s the old chestnut of “boy meets girl after girl drives over the median and slams into an oncoming SUV, boy manages to cure what others consider to be inoperable spinal damage.” You know, that cliché. She thinks Jack is the type of man who fixes things.
He’s also the type of man who plays the piano, turns out, as Sarah catches him that night tickling the ivories in the hotel lobby. She joins him for a duet of “Heart and Soul.” Turns out Jack’s having a hard time writing his vows. My wife and I had that problem as well, which is why we simply quoted from Meatloaf’s “Paradise by the Dashboard Light.” Nevertheless, while these two are nominally talking about vows, one gets the impression that there’s more going on beneath the surface here.
Jack is drinking alone by the pool later on. Christian settles in beside him, having smelled the booze from 4,000 yards away. Papa Shephard reads Jack’s vows-in-progress, only to find out they are Sarah’s, not his. Jack’s got writer’s block. The two have a heart-to-heart, in which Jack betrays a few fears he has. He wonders if he only proposed to Sarah because he saved her life. Christian replies that while Jack has no problem with commitment, but that he does have a problem knowing when to let go.
It’s Jack’s wedding day, with Sarah flawlessly reciting her written vows. Time for Jack’s sage words: “Sarah, when you were talking about the accident — you got it all wrong. I didn’t fix you. You fixed me. I love you, Sarah, and I always will. At least until I meet a hot chick on a deserted island with a propensity to say, ‘I’m coming with you,’ at least once per episode.” OK, maybe I paraphrased that last bit. He said with his eyes, though, trust me.
16) The Mythology
None present.
23) The Moment
Boone screaming in agony after jack re-sets his leg. Youch.
42) In Retrospect
- Loved seeing Jack play the piano, given his penchant for doing so in New Otherton. I don’t think it has much mythological significance so much as psychological: it’s what the guy does when trapped in something from which he doesn’t know how to escape.
- Can’t help but wonder, given Christian’s role in the show now, what function Jack’s marriage to Sarah serves his overall agenda. Moreover, given the overabundance of car crashes on this show, and the person also involved in Sarah’s crash, can we really say Sarah wasn’t led directly into Jack’s life?
- My wife pointed out that it’s fitting that Kate first holds Aaron, given her off-Island relationship to Turnip Head. I wouldn’t give the show credit for thinking that far ahead, but I will say that it makes later events make perfect sense. After all, Kate would have an extremely primal association with this child, and would be fit for tending to him in Claire’s absence.
- While blindingly obvious even upon first viewing, Jack’s “don’t tell me what I can’t do!” line binds him ever more with Locke upon later viewings. The two really aren’t as different as they think; they are merely individuals with different skill sets and weaknesses that offset each other. Too bad they really never had a chance after Boone’s death to exploit this relationship for the good of themselves or the Island.
108) In Summary
More so than any episode in the series, this strove to show the difficulty of simple survival on this Island. In time, the Island would reveal showers, washing machines, and even CD players, but this episode played it hard, played it real, and above all, played it MEAN.
But amidst all the blood and pain and trauma, there was genuine compassion as well. Sun essentially keeps Jack sane, while keeping Boone alive as long as possible. Kate steps up in a big way, saving Claire’s sanity (and her son’s health) through her quick thinking and clear purpose. And a host of other people selflessly helped out whenever possible, taking a group of cohabitating people are turning them into a family overnight.
Course, with Jack’s last words of the episode, looks like that family might start splintering sooner than we’d like.
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LOST - S04E03 - Episode 3 - Let’s make a Deal
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Lost Season 4 Finale Spoilers (Photos)
Of all the casualties on last night’s “Lost” finale, the most surprising one was already in a casket. The two-hour concluding episode of one of the best seasons of “Lost” ended with viewers finally seeing that it was arch rival John Locke in the casket that Jack went to visit in the Season 3 finale.
Of course, that only brought up another question: How did Locke get off the island?
That wasn’t the only big event. The earth moved - literally - when the island disappears. (Ben activated a time-travel machine, if you must know.)
The Oceanic Six, as they were dubbed this season, were in the helicopter when the sea swallows the island.
Viewers were left to wonder until next season what happened to rest of the survivors when the mysterious island disappears beneath the waves.
The much-hyped finale capped off the island mystery’s fourth season - a year that finally filled in some of the holes in the rich and complicated storyline.
And with a definite end in sight - the producers have agreed to two more seasons, ending the show in 2010 - viewers came back this season to get caught up in the lives of Oceanic 815 survivors.
Among the highlights last night:
* Desmond and his beloved Penny were reunited - in one of the few happy moments in the episode - aboard a rescue boat that discovers the survivors of a helicopter crash.
* Early in the episode, Sawyer - seemingly among the “safe” group with Jack, Kate, Sayid and Hurley aboard the helicopter headed off the island - sacrificed himself to save the others. When the ‘copter sprung a fuel leak and needed to lose weight to make it back to the freighter, Sawyer jumped from the whirlybird. He swam back to the island and was with Juliet when the island disappears.
* Jin, Desmond and Michael had a bomb to deal with on the freighter, which was triggered when mercenary Keamy died from stab wounds inflicted by Ben. Sun, aboard the rescue helicopter, witnesses her husband’s death from the helicopter when the bomb goes off.
Still unanswered by the finale was the fate of new mother Claire, who popped up in the finale as a ghostly figure in Kate’s dream.
Who is Jeremy Bentham + More Spoilers & Video Spoilers after the jump…
During the finale we keep hearing about this character who is visiting all the oceanic six named Jeremy Banthem. When Sayid goes to visit Hurley in the mental hospital he does not even like to utter Mr Banthem’s name. At the end we see its John Locke.
If you remember early we saw Jack at a funeral for someone. The newspaper clipping was like J—– -anthem. Then never showed who the funeral was for. I guess we know now.
The name Jeremy Bentham. It’s yet another moniker on this show borrowed from real life. Bentham was a philosopher (a contemporary of the real John Locke…yikes) who, according to this early but dead-on “Lost” theory, proposed the idea for the Panopticon, a type of prison:
“The concept of the design is to allow an observer to observe (-opticon) all (pan-) prisoners without the prisoners being able to tell if they are being observed or not, thus conveying a ’sentiment of an invisible omniscience.’ In his own words, Bentham described the Panopticon as ‘a new mode of obtaining power of mind over mind, in a quantity hitherto without example.’ ”
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NAVEEN ANDREWS
If you don’t recognize the name, you’ll likely recognize the face. Naveen William Sidney Andrews is the sexy British star of Indian descent on the hit American TV series Lost, but is also well-known for his role on The English Patient back in 1996.
Naveen Andrews was born in London, , on January 17, 1969, and became famous for his “scandalous” romance with his math teacher, Geraldine Feakins, when he was only 16 years old, and with whom he had a son seven years later (in 1992), named Jaisal.
After high school, Andrews went on to study at London ’s Guildhall School of Music and Drama, along with actors Ewan McGregor and David Thewlis. In 1991, he landed his debut film role in Hanif Kureishi’s London Kills Me, which starred Justin Chadwick as Clint Eastwood, Steven Mackintosh, Emer McCourt, and Roshan Seth.
He appeared in a few lesser-known films, TV series and made-for-TV movies until he landed his breakthrough role as Kip in the critically acclaimed film The English Patient in 1996, alongside Ralph Fiennes, Juliette Binoche, Willem Dafoe, Kristin Scott Thomas, and Colin Firth.
He also recently starred in Bride and Prejudice, the 2004 “Bollywood” adaptation of Jane Austen’s Pride and Prejudice as Balraj Bingley (the character of Charles Bingley), co-starring Aishwarya Rai as Lalita Bakshi (the character of Elizabeth Bennett), Martin Henderson as William Darcy, Nadira Babbar, and Anupam Kher.
But Andrews is now most known for portraying Sayid in the extremely popular TV series Lost, which premiered in 2004 and is still going strong. Lost is about a group of survivors from a plane crash forced to live together on a remote, dangerous island, and co-stars Matthew Fox, Jorge Garcia, Josh Holloway, Daniel Dae Kim, Yoon-jin Kim, Evangeline Lilly, Dominic Monaghan, Terry O’Quinn, and Emilie de Ravin, among others.
Andrews, who is also a guitarist and a singer, was voted one of People magazine’s “World’s Most Beautiful People” in 2006.
Andrews is currently dating actress Barbara Hershey and the couple lives together in L.A. When he and Hershey were separated for a time in 2005, Andrews had a child—his second son all together—with another woman, after which he and Hershey got back together.
Interestingly, Andrews is actually a recovering alcoholic and drug addict. His most difficult times were reportedly in London during his early 20s, which almost ended his budding acting career. He ended up moving to the for rehabilitation and ultimately succeeded.
The Secret Lost TV Show Ending
Lost is a popular TV show on ABC. The show is now entering its fifth season and still as intriguing as ever. There are many storylines that interweave to create the main plot. If you lose track of one character, then you get lost with the entire show. The premise of the show is that these survivors of a plane crash end up on an island and must find a way to get back home. They start to discover that the crash was not really an accident; in fact it seems that someone had planned it. Everyone is waiting for this last season to reveal the Lost TV show ending.
The Lost TV Show Blog
This blog will be aptly named the lost TV show blog. All of the posts will only pertain to lost and answer any questions that viewers have. Whether it is a question about season one, two, three, or four, all the responses can be found here. Lost is a very complex show with many subplots that if not digested properly can cause a lot of confusion. Each of the survivors of the plane crash has their own story and they all in tie together. No one is sure what is going to happen next, but this blog will recap what has happened so far. Make sure to check it out.
Watch Lost TV Show Online
The weekly, hour-long drama Lost TV Show began at a point that in any other case may have been an ending: a passenger jet, crashing on an uncharted Pacific Ocean.
At that stage, each survivor was given a choice to live together or die alone Among the survivors were, Dr. Jack Shephard, fugitive Kate Ryan, rock star Charlie Pace, the reclusive and mysterious John Locke, hot-tempered and self-serving James “Sawyer”, chauvinistic Korean husband Jin Kwon, his much-put-upon wife, resourceful former Iraqi Republican Guard Sayid, estranged siblings Shannon Rutherford and Boone Carlisle, dad Michael Dawson, and very pregnant Aussie Claire Littleton. The island is treacherous and it holds many secrets and the survivors quickly learn they must band together in order to have any hope of rescue. Jack, Kate, and Sawyer have been captured by the mysterious. Others forced to live in their campsite, they learn more of the island’s secrets and realize their enemies have an agenda all of their own. Meanwhile, Locke is brought back into communion with the island as it wraps him closer into its own insidious plot. Adding to the suspense, was the apparent presence of a person not on the passenger list, who seemed determined to bump off the hapless castaways one by one, and a mysterious, terrifying yet unseen monster-like creature. The show has announced it will run for three more seasons of 16 episodes and end in 2010. The show has become an international success and the fact that the viewer has no clue as to what is going on seems to have become its biggest appeal.
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‘Lost’ the brilliant example of Sci-fi
Well if you guys value the brilliance of a person who gives you the bitter stuff in a sweet coating, then you have to appreciate J.J.Abrams, the co-creator of Lost. Well in reality, the hard core science fictions are for the people who understand the complex things at ease. But in case of lost this has hooked up even those who hate sci-fi and this is the brilliance of ‘Lost’ team. I think this is the reason that Abrams is successful as he knows how to trick sci-fi into the genre entertainment.
Though Abrams has not much contribution to the show from the very beginning, but still whatever he has given to season 4 is wonderful. The show was quite weird from the beginning as everybody knew that there are some secrets about the island and there is something deadly behind the trees and then Desmond’s time travel storyline and many more mind boggling things. But the show remained catchy and kept the audience hooked up to the season 4. The show up to the season three was having a few elements of sci-fi and then slowly it became a hard core sci-fi in the season 4.
Some people are of opinion that the show has became ridiculous as it goes along with sci-fi flavor, but some say that it is compulsory evolution of the show. But whatever people say I personally have an attachment with the show, as to me, the sci-fi touch has doubled up the weirdness of the show. Eventually some technology is necessary to include, when the secrets of a mysterious island are to be disclosed. The brilliance lies in the way of presentation one makes and I hope sci-fi lovers and haters both will be agreed with the point that Lost has proved itself as a brilliant sci-fi.
Lost - S01E04 - Walkabout Review
In keeping with the previous episode, the pace remains relatively slow in terms of the time elapsed. This makes a certain amount of sense; it gives the writers more of a chance to delve into the interwoven plot threads that ultimately must converge in decidedly troubling ways. The writers seem to be following a standard practice for new shows by spending the first third of the season introducing the characters, their histories, and the primary conflicts among them.
Many fans were worried that the almost immediate revelation of some mysterious creature on the island would become a tired plot device all too soon. Perhaps it’s because they don’t know the credentials of the writing staff. The writers are largely veterans of long-term story arcs, especially when it comes to JJ Abrams and David Fury. Of course, showrunner Damon Lindelof is rumored to have a strong background as well.
This episode focuses on the character of Locke, and if this episode is any indication, all theories mentioned in the previous reviews can be considered null and void. The writers have obviously done their homework when it comes to defying expectation. They were well aware of the kind of character Terry O’Quinn is known for, and they made sure that the audience would be stunned by the truth behind Locke. And as far as plot twists go, this one works very well.
It was easy to assume that Locke was connected to the military, and his somewhat disturbing expressions made it easy to assume that he knew something about the island that the rest of the survivors didn’t. Well, the first assumption was very wrong; the second was absolutely correct, but for all the wrong reasons.
Making Locke a tragically unstable figure is brilliant, and Terry O’Quinn plays the role exactly as it needs to be played. It would be easy to dismiss the actor as one-note, but his work on this series demonstrates how wide his range can be. Make no mistake, playing a role like Locke requires subtlety, because it could easily be taken over the top by a less capable actor.
What gives O’Quinn the chance to put his talents on display, of course, is the strong writing. At the beginning of the episode, it’s easy to assume that Locke is some kind of military expert. Very quickly, that assumption is turned on its head; Locke is really an office worker with dreams of military adventure. He spends his lunch hour playing strategy games, fending off the cruel insults of his much younger boss. That crushing corporate atmosphere is all too familiar in American culture, and it’s easy to sympathize.
His overconfidence is rather plain in his choice of hunting companions. He seems completely assured in his own ability to hunt down a razorback and prove his worth. His casual attitude towards Michael’s injury and mumblings about destiny make it all too easy to assume that he is actually insane. And the fact is, he might very well be out of his mind. He considers himself in a relationship with a woman on a phone sex service, which is typically not a sign of stability. By the time that he comes face to face with the unseen creature on the island, one can’t help but wonder if Locke is about to get some kind of karmic comeuppance.
The final act, however, is a stunning series of revelations about Locke’s true secret. All his talk about destiny and “not telling him what he can’t do” comes into startling context when it’s revealed that Locke was once wheelchair bound. Now his comments about miracles on the island make complete sense. At the same time, this only deepens the overall mystery that the island represents. What could possibly explain the fact that Locke can suddenly walk on his own two feet?
His overconfidence makes sense in light of this information, because now he really does feel like he has been given the chance to prove himself, all by the hand of some unseen divine intervention. There’s also his completely unexpected survival. It’s somewhat obvious that the unseen creature killed the razorback, and that Locke has no intention of telling the others what he’s seen.
Underneath it all, of course, there is the disturbing impression of an unhinged mind. The first person to challenge Locke over what he can or cannot do is going to be lucky to survive the experience. Locke has definitely been waiting for the chance to show the world what he’s capable of, and his military/survival fantasies could develop into a true Napoleon complex. Imagine Locke in charge of a subgroup among the survivors; however sympathetic Locke’s story might be, it’s not a pretty picture.
For any other series, Locke’s story might represent the totality of the episode’s plot. Everything would be subordinate to the goal of telling this man’s story. But David Fury, the primary writer for this episode, knows how to layer an episode and advance several plot threads at once. Like the previous episode, the characters themselves drive the action.
In the first hour of the pilot, Jack took on a leadership role, trying to save lives and find a means of contacting a rescue party. Despite stepping back in the days that followed, Jack is still seen by many as the default leader. Clearly, he doesn’t want that responsibility, at least not all of it. He does make the necessary call when it comes to taking care of the bodies in the fuselage (one can only imagine how it was beginning to smell), but when it comes to addressing their religious concerns or seeing to the mental health of the survivors, he doesn’t want that responsibility.
His attitude seems harsh, but this is also a man with wounded hope. His own mental health was attached to the fate of the marshal, and when it was necessary for Jack to put the man down, it was like killing his own hope in the process. That said, Jack didn’t need to be as harsh as he was when refusing to lead the memorial. Those scenes seem written specifically to suggest that Jack is not a natural leader by any means.
On the other hand, he does have a basic decency that shines through whatever issues are hanging over his shoulders. He takes the time to speak with the woman who lost her husband, which no one else seems to be willing to do. Jack is likely to find himself pushed more and more into that leadership role, and it will be interesting to see if Jack’s background is exposed as a result of his reluctance to accept that role.
Oddly enough, if there is one character that seems to be on walkabout, it’s Kate. As more than one character notes in this episode, Kate seems rather unnerved by the idea of being forced to stay in one place. In terms of whatever crime she’s committed, she could now consider herself free of that burden. At the same time, she’s now truly confined, more than a simple jail cell could achieve. It’s not surprising, then, that she is making such an effort to get off the island, even at risk to her own life.
Charlie’s role in the episode is somewhat reduced, but there is still some vital exploration of his character. If the amount of material in his little baggie is any indication, Charlie is going to be in some serious trouble in a matter of days. Deep down, it seems like Charlie is a decent enough man, perhaps a gentle soul caught up in the trappings of semi-stardom. He’s easily swayed by a pretty face, but even so, he takes honest joy in his attempt at fishing. If the previous episode suggested that he would begin relating with Claire, however, this episode strays from that a bit.
As expected, Hurley’s size is beginning to cause problems with the more suspicious and hostile survivors. His character is a natural means of exploring the food issue, something that was thankfully addressed at the exact time that it should. Even if there was food in the fuselage, the conditions would be such that most of the food would be inedible after a few days. The food crisis is also the perfect way to segue into Locke’s story.
Sayid’s character gets more depth in this episode. The writers are doing a wonderful job of giving his character some sympathetic shades, rather than falling on the typical depiction of a Middle Eastern man. His love for the woman in the pictures is palpable, and it gives his efforts strong focus. It’s also clear that he is a man of no small religious conviction, based on his belief that the dead passengers in the fuselage be dealt with according to what their religious beliefs would apparently dictate. Sayid is comes across as very humane, a genuinely likable character.
Sawyer, on the other hand, becomes more and more annoying as the episodes march on. The man complains about the food situation, but when it comes time to hunt down a substantial source of food, he doesn’t offer his strength to the cause. Instead, he predicts failure and mocks Locke for even suggesting they hunt for food. He comes across as someone who prefers the easy way out, and that kind of person often turns to violence when things don’t go their way.
In previous episodes, Boone seemed to be a bit harsh in his criticism of Shannon. This episode places that in a more reasonable perspective. Shannon appears to be the spoiled little rich girl, and she certainly has a lot of practice getting people to do things for her. She uses Charlie without hesitation and without regard for his feelings, and when Charlie succeeds, she actually believes that she proved her brother wrong. It seems as though Shannon is moving rapidly towards a serious life lesson.
Claire is a character that is very hard to interpret. She seems to be very open and caring, especially since she feels for the dead passengers and believes that something should be said in their passing. At the same time, she’s almost too casual about her baby. In previous episodes, she didn’t seen nearly concerned enough about the baby being still. It’s hard to know what Claire is all about, but there’s an undeniable optimism there. And that Australian accent is damn sexy!
Michael and Walt continue to have issues between them, which is not at all surprising. Michael tries to prove himself time and again, and things do not go well in the process. It’s interesting that Michael would ask Sun to watch over Walt for him; there’s something going on there, and it could get ugly very fast. After all, in some areas, there are serious tensions between African-Americans and Korean-Americans, and someone like Jin with strict cultural interpretations could see Michael as a threat. (Beyond that, doesn’t Michael’s injury seem much smaller when they arrive at camp?)
As far as the mystery of the island goes, the unseen creature makes another appearance, and it creates a setback in the effort to triangulate the source of the French transmission. It seems rather strange that the creature remains hidden when moving the trees around; it’s almost as if the creature is invisible or otherwise cloaked. One would hope that the nature of the creature is revealed sooner rather than later, since it would otherwise come across as a convenient plot device.
The real shocks come in the final act, when Jack sees a man in a suit jacket and sneakers lurking in the trees. His first appearance is incredibly creepy, and considering the topic of conversation at that exact moment, it’s very unnerving. What if the tail end of the plane did crash on the other side of the island, and people survived that part of the crash as well? Or even worse, what if that man has been on the island much, much longer?
The real question concerns Locke’s miracle. Was it a miracle caused by something on the island, or was it simply a matter of chance? Without knowing the reason for Locke’s condition prior to his trip to Australia, it’s hard to know what his ability to walk fully entails. The likelihood is that the condition was something that would require something more than simple medical intervention, so there is something more at work on the island. The question is, how does that miracle connect to the unseen creature and/or the man in the suit? Or is it something completely unconnected?
Any episode written by David Fury would have a certain level of dark humor included, and this is no exception. At times, the episode seems a bit lightweight, but that is part of the overall deception; everything is designed to maximize the power of the final act. Everything still happens with an edge of desperation beneath the veneer of civilization, and whatever attempts at cooperation were made at the end of the previous episode are already beginning to fall apart. The writers know better than to let things get too depressing, and that balance goes a long way towards the early success of the series.
Overall, this episode was a well-written exploration of Locke and his particular brand of insanity. His story leads to a number of startling revelations, all of which serve to deepen and enrich the mystery of the island. A certain realism is still maintained, and the conflicts continue to deepen between the survivors. Mixed with a dash of humor, the series continues to prove that character-driven drama beats anything else out there.
