Tag Archives: Backstory

Lost – “Across the Sea”

“Across the Sea”

May 11th, 2010

[For more discussion of the episode, check out my breakdown and analysis of critical responses to “Across the Sea.” Also, for a review of the series’ penultimate episode, What They Died For, click here]

Do metaphors count as answers?

It’s the question I found myself returning to throughout “Across the Sea,” a story which feels so designed to discover answers that it never quite achieves a narrative in its own right, although I don’t necessarily mean that as a slight to its effectiveness. However, while you could argue we get some facts and details that help us piece together previous events, there is very little of what one would call “clear” answers in the hour. What we get are extended metaphors meant to give meaning, rather than clarity, to that which has happened before and that which will happen in the future.

Considering the breadth of questions we as an audience have at this stage in the show’s run, there is no chance that the show will ever be able to make everything perfectly clear, and when tonight’s episode actually tried to provide “answers” it often felt unnatural, inorganic. Where the episode worked best is in using metaphors and abstract ideas to solidify human emotions and character motivations: this is the story of Jacob and his nameless twin brother (who we’ll call Esau for the sake of the Biblical connection, even if their mother’s name makes it less than perfect), but it both implicitly and explicitly gestures to what we’ve seen unfold on the island for six seasons, and in doing so gives greater meaning to that journey even if the “why” question remains unanswered.

I don’t think “Across the Sea” is by any means perfect, but I think it did a most admirable job at crafting a story which crystallizes the show’s journey thus far, worrying less about the big picture and more about establishing where the individual portraits the show has created fit into the mysteries of the island (which may remain unsolved).

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Season Premiere: Mad Men – “Out of Town”

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“Out of Town”

August 16th, 2009

“Tell me about the day I was born.”

One of the most fascinating elements of Mad Men in its first two seasons was a spin-off of this question, asked by Sally Draper at the end of the show’s third season premiere, “Out of Town.” Birth has played a substantial role in the series to this point, whether it is Peggy’s child at the end of Season One, or the birth of the lie of Don Draper which has been present throughout the first two seasons, and questions of birthright play substantially into the complicated history of Pete Campbell. If we take these three character as our most substantial (which the episode doesn’t, but I’ll get to that in time), we realize that this question is more loaded than it seems.

For instance, the day Sally was born could mean something very different for Betty, who remembers it in the most romantic way possible, than it does for Don, who remembers the experience within the context of what could have been earlier infidelity, or struggles (as we learn in this episode) to reconcile with his own complicated childhood. Don remembers the time, and he remembers the weather, and he remembers what he was doing that day, but he’s blocked out the emotions, the experiences – he starts the story, in its simplest form, but Betty is the one who adds the sentimentality, fills in the details of how they felt (which is what Sally really wants to here in that moment).

What “Out of Town” accomplishes most of all is establishing how various characters, in their response to new pressures in the workplace as well as new personal pressures, are coming to terms with the intersection of the emotional and the social expectation. All of the show’s characters know what they’re supposed to do in these situations, but actually doing it with a straight face and hiding their inner frustration, their inner desire, or even their inner happiness is proving far more challenging. And yet, the way the series structures itself, these people don’t have anyone to turn to, as the British Invasion of Sterling Cooper combined with the secretive and judgmental nature of the period have made this even less advisable than it was before.

It’s created a scenario where, just as with Peggy last year, there are that many more characters who can empathize with what Don has been doing for much of his adult life, although in ways different enough to only add to the show’s diversity rather than creating a sense that there is only one type of conflict the show can truly handle. This is not a series rebirth, certainly, but by allowing individual characters to come to terms with the birth of their own sexual awakening or the frustration of being unable to get to that point of achieving something substantial, the show is yet again reinvigorated by a leap forward in time (to the Spring of 1963) for a new season and a new set of complicated interpersonal circumstances for us to enjoy and, as you’ll soon see, for me to analyze extensively.

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