Lost the Morning After: Critics face “The End”
May 24th, 2010
Writing about the end of a television show is a lot like writing about the end of a war. When a war comes to a close, people want to know the facts of how it came to an end, and they want to understand the legacy that it will leave behind, and the same goes for a television show: people want to “understand” the ending, and they want to see the “big picture” in order to evaluate the series as a whole.
However, for critics who have been reviewing the series episode-by-episode, this is a greater challenge than I think people realize. It isn’t that we don’t have opinions about “The End” in terms of where it fits into Lost’s big picture or how its ending concludes the series’ long-term storylines, but rather that we have been in the trenches, so to speak, for years of our lives. Noel Murray likened writing about Lost weekly to “reports from the field…recording immediate impressions,” but now we’re forced to combine the immediacy of our response to the finale with this desire for closure, both within the viewing audience and within our own expectations. These critics are the embedded reporters, people who have dedicated so much of their time to cataloging their immediate responses that channeling that energy towards the end of the series seems like a different and in some cases counter-intuitive experience.
However, they’re also the people who offer a valuable glimpse into the series’ run as a whole, both in their wide-reaching commentary and in their specific analysis of “The End” and its various mysteries and reveals. Their “reports from the field” may be over, but the final transmission will serve as a wonderful starting point for the larger discussion, so let’s take a closer look at their analysis and see how the process of historicizing Lost’s impact begins.
In Defence of “Exposé”
May 21st, 2010
As we come to the end of Lost’s run, people like to write lists: most of these lists will feature “Favourite” characters, episodes or scenes over the past six seasons, but there’s a chance that many of them will focus on the “Worst” of the same. I don’t know if I’m really up for making lists of my own (especially since I put together my own list of important episodes before Season 6 began), but I do want to say one thing:
If I see “Exposé” on a single “Worst Episode” list [like this one, which is even more despicable since it uses "Pointless"], I am going to be incredibly angry.
I may not have loved the episode initially (my “review” from three years ago is a little all over the map), so I can’t say I’ve always held this belief, but over time I have become part of the minority who feel that “Exposé” was an intriguing episode which successfully made lemons out of lemonade. While there are bad episodes of Lost (see: “Stranger in a Strange Land”) which in their failures elucidate some of the show’s growing pains at various points within its narrative, “Exposé” is precisely the opposite: it is a confident hour of television, entirely sure of its function of bringing to a close an intriguing, if failed, experiment in the series’ narrative in a meaningful and memorable fashion.
As Lost has continued, and we’ve learned more about the island and the central themes to the series, I’ve become convinced that there is no way anyone could argue that “Exposé” is not a pivotal episode in the series’ development. Whether you choose to view it as hidden foreshadowing or (more likely) as successful retroactive storytelling, the episode captures in a single episode the complex morality plays which have been unfolding for six seasons, crafting a compelling standalone narrative that we can now see as a microcosm for the series’ larger conflicts.
In other words, I’m tired of the haters, and I’m here to tell you why.
“What They Died For”
May 18, 2010
“I think you’re mistaking coincidence for fate.”
[For more analysis of this week's penultimate episode of Lost, check out my roundup of Critics' commentary from across the web.]
Earlier today, TV scholar Jason Mittell wrote a rather fantastic analysis of the variety of different types of questions floating around as Lost comes to an end, nicely capturing the ways in which categorizing the questions helps us outline our own “priorities.” Say what you will about “Across the Sea” (as I, or the critics, did), but it has certainly forced Lost’s active audience to consider which questions matter most at this late stage in the series – rather than forcing us to see things a certain way, the episode forced us to see things of our own choosing, things which help form our personal view of the series heading into its conclusion.
When the episode was labeled as “divisive,” it’s easy to presume that the division lies between those who liked it and those who hated it, but the divisions go much deeper than that. The discussion of the episode brought to light how each individual viewer (rather than “groups” of viewers who we bundle into particular categories) has viewed the series thus far, and in doing so led them to the variety of questions which Mittell classifies; rather than eliding these sorts of big questions or attempting to lead viewers in a certain direction, Lindelof and Cuse sat their audience down by the fire and told them that they had a choice to see this show in whichever way they wanted to going into these final episodes, and they have been more than willing to take the criticism and praise found in the questions that viewers have been asking in the past week.
I make this point because “What They Died For” is all about human agency, about how and why we make choices and what it is that pushes us to do things which may seem morally reprehensible or potentially dangerous. The episode is an important connecting point between the show’s two realities, emphasizing the ways in which choices – and the trust implicit or explicit to those choices – shape both the show and its characters on the island and within the newly introduced sideways stories. By putting to rest any doubts about the position of free will within the series, one can’t help but feel that the show is also empowering its audience to enjoy the same type of agency as we head into the finale, picking up on the spirit (if not necessarily the content) of last week’s divisive episode.
And I, speaking entirely personally, think it worked really well, but I think we’re to the point where saying this objectively may be going against the point of it all.
Going “Across the Sea” with Critics
May 12th, 2010
Writing about Lost on a weekly basis has been consistently challenging this year not in terms of having anything to talk about but rather in terms of tempering one’s response. We all know that the show is close to reaching its conclusion, so we’re all thinking in the back of our minds that the success of the sixth season’s episodes may well depend on where things end up. We can evaluate how much we enjoyed the episode, and how it connects with the show’s characters, but we can’t really evaluate where it fits into the big picture.
However, an episode like “Across the Sea” desperately wants us to think about the big picture, and I think the reaction to the episode is a reflection of the repressed theorizing regarding the finale that people have been building up inside. “Ab Aeterno” provided a release, a chance to consider the island’s past, but we’ve spent the rest of the season withholding our opinion about the Flash Sideways story until we see where it’s going, just as we’ve spent the last six seasons withholding final judgment on the island mysteries.
It makes perfect sense why outright Lost skeptics would respond to this episode in such a divisive fashion, as they’ve been waiting for an opportunity to tear apart the show’s science fiction and this episode gave them plenty of lines rife for parody. However, even the most patient of fans have reached the point where they can’t keep withholding their opinions, and “Across the Sea” has everyone expressing their concerns about whether this is all going to come together and whether this was how the show should be spending its time.
And perhaps the point of it all was to bring our skepticism to the surface, to force us as viewers (or as critics) to put our cards on the table and take a stance regarding the season and the series thus far. “Across the Sea” seems designed to provoke viewers, but perhaps it does so because it knows that it’s better audiences ask these questions (or angrily revolt against the series) now rather than after the finale. Perhaps it’s all a fiendish trick to place us on one side or another heading into the finale whether we have a choice in the matter or not, revealing which of us are men (or women) of science (desiring a more concrete explanation for events) and which of us are men (or women) of faith, who even through a somewhat ridiculous metaphor are still believers of what Lindelof and Cuse are trying to accomplish here.
Either way, the showdown is already beginning, and the crosstalk between critics is as interesting as it’s ever been, so I’m going to at least consider “Across the Sea” a success in that regard as I try to capture some of that discussion (although don’t pretend I capture the depth of each individual review with these comments, and do click through).
“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).
“The Last Recruit”
April 20th, 2010
“You could find yourself in a situation that’s…irreversible.”
From what we can gather, the Man in Black is a man of promises: while he has a certain power of persuasion in general, his greatest tool appears to be his ability to offer the thing that people want most. He offered Claire knowledge about her son’s whereabouts, and promised that he would help her find him, and he promised Sayid that he would reunite him with Nadia so long as he joined his side. In both cases, the characters had clear goals, and in both cases their predisposition to accepting such promises (the darkness within them) pushes them into the realm of the psychotic and dangerous.
But “The Last Recruit” asks us to reevaluate these characters, or more accurately asks us to reconsider whether their situation is truly irreversible. While Sawyer is right to be wary of Sayid and Claire due to their allegiance with Locke, other characters have the ability to promise them something more, or to force them to fully consider the nature of what the Man in Black is promising and the complications therein. On a show marked by the overwhelming power of fate, this week’s episode demonstrated a lot of characters charting a new path for themselves just as soon as it seemed everyone was in the same place for the first time in ages, with most choosing to chart their own path amidst the unclear motivations which define the island’s politics.
It becomes an instance where short-term convergence leads to long-term, and ideological, dispersion, just as the Sideways storyline begins to bring the whole gang back together again in a way which seems just uncanny enough to overcome a somewhat problematic short-term focus.
“Everybody Loves Hugo”
April 13th, 2010
“There’s a difference between doing nothing and waiting.”
Ah yes, that eternal question: a week after finally getting something close to answers about the Sideways universe and what it means for the series, “Everybody Loves Hugo” appears at first to be the start of another waiting period. The Man in Black is right when he says the above, of course: there is a difference between the show sitting around wasting time and the show waiting for the right moment to introduce something that will truly change the direction of the series.
I’d argue that “Happily Ever After” gave us the momentum required to (hopefully) negotiate the difference between these two approaches. While early episodes lacked the context necessary for us to view the flash sideways as something that was building to something larger as opposed to just the show twiddling its thumbs to toy with our minds, the new details about how the Flash Sideways work means that there is now a function to the “waiting,” making it seem more purposeful and goal-oriented.
It’s one of the things which makes “Everybody Loves Hugo” a particularly intriguing episode; after creating the expectation that it would be a quiet episode of waiting and wishy-washy motivations, various characters get tired of waiting and take things into their own hands, creating some rather explosive moments that punctuate a philosophically intriguing hour.
And that certainly doesn’t qualify as “doing nothing,” even if we’re still waiting for the big answers.
March 30th, 2010
There are plenty of reasons to be apprehensive about “The Package.” It’s coming off of an epic mythology episode of romance and intrigue, it features a vague title that seems to refer to some sort of MacGuffin, and it has the unfortunate task of “filling in the gaps” in its flash sideways as opposed to telling its own story. Because we saw a small glimpse into Jin’s fate in “Sundown,” we can be fairly certain that the show will be colouring in the lines this week, and after a week when the show was willing to go off the page entirely it means that the show is facing an uphill battle.
Like the season’s weaker episodes, “The Package” struggles with a flash-sideways that proves completely inconclusive and an island scenario which feels like pieces moving on a chess board, but it ultimately works because it doesn’t feel like those pieces are being moved. When things stall in the episode, it feels like they’re stalling for a reason, and everyone involved knows why they’re making the choices they are. While things may not be moving as quickly as some fans want them to be, they seem to be moving faster than the characters were prepared for, and there’s a nice tension there which bodes well for the remainder of the season.
And, let’s face it: the reveal of just what “The Package” is was way too good for me to be too cranky.
March 23rd, 2010
Considering how important “Ab Aeterno” is to the Lost mythos, and considering how much I enjoyed the epiosde, I don’t think I’m going to have a whole lot to say about it – or, more accurately, I didn’t think I’d have a whole lot to say until I actually started writing about it. This does not mean that the episode didn’t live up to my expectations, or that there isn’t plenty of questions to mull over in the week to come. Instead, I simply mean that things were confirmed more than they were revealed, and the questions that were answered actually provided clarity as opposed to more questions.
In many ways, “Ab Aeterno” (which translates as “since the beginning of time”) is about the interrelationship between “how” and “why,” with its answers addressing issues related to both key questions. Structurally speaking, Season Six is no more clear than it was before, but the brief glimpse of Jacob and the Man in Black from “The Incident” is intricately fleshed out into the story of how Richard Alpert made the decision between a man who offered him everything he once had and the man who could assure him that there would be something to live for.
The result is a simple story of love and loss, and an important turning point in our understanding of why these characters are stranded on this island, and how they may play a role in its eventual destiny.