Tag Archives: Charles Widmore

Lost – “Whatever Happened, Happened”

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“Whatever Happened, Happened”

April 1st, 2009

[I’m still technically on a blogging hiatus (hence, if you were wondering, my lack of coverage of Chuck, or HIMYM, or the season premieres of Greek and My Boys), but I learned my lesson last year when it comes to Lost – when I went back to revisit past reviews, I found that I hadn’t reviewed “The Constant,” and that fact still haunts me to this day. As a result, Lost is one show I want to consistently recap, even if doing so will become more challenging over the next couple of weeks as I prepare/participate in/recover from my trip to Los Angeles.]

“Whatever Happened, Happened” is an odd episode in the sense that it is most definitely eventful in terms of its on-island material, certainly one that I couldn’t resist blogging about, as the fallout from last week’s episode becomes a struggle between life and death, between right and wrong, between past and present, but its off island material (and much of its subtext within the main storyline) surrounds one of the show’s more consistently weak elements, a love triangle that has turned into a square without an uptick in real interest. It’s an unorthodox episode for Lindelof and Cuse to tackle themselves, at least on the surface.

Very quickly, though, we realize that this episode isn’t about Kate’s relationship with Jack, or Kate’s relationship with Sawyer, but actually about Kate. It’s the first time in a long time that she has emerged as a character in her own right, less interested in discovering who she was or even who she is, and discovering instead what role she is supposed to be playing. Too often, Kate has been a foil and not a real character, and when you really consider it she hasn’t had a substantial or effective episode in a long time.

This one isn’t perfect, but with Lindelof and Cuse at the helm we get a couple of tantalizing hints, a predictable but well executed “flash” for Ms. Austen, and a compelling if not groundbreaking metaconversation about time travel – I’ll take that.

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Lost – “The Life and Death of Jeremy Bentham”

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“The Life and Death of Jeremy Bentham”

February 25th, 2009

Because there’s a war coming, John – if you’re not back on the island when that happens, the wrong side is going to win.

The question of destiny plays a pretty fundamental role in how things operate in the world of Lost. John Locke, of course, was a man who believed in the foundational aspects of destiny, who took on the role of believer while on the island because he had been most affected by its healing, most drawn in by its mystery, most wrapped up in its central nervous system of sorts.

But Locke has never been unwavering in that faith, until more recently; when the island began skipping, his insistence that he needed to go and find the others came from the words of Richard Alpert, and was something that has never made sense in and of itself. Locke does not know why he is to bring them back, or what good it will do, but he has committed himself to Alpert’s word, and to the island that he has some sort of a connection to. We knew, from the show’s fourth season, that Locke got off the island, and that he spoke to the Oceanic Six in order to convince them to return, convince them to come back with him. But what we didn’t know is what drove him to do so, and even before this week’s episode, “The Life and Death of Jeremy Bentham,” that point wasn’t entirely clear. Was it fate and destiny that brought him to this place?

There are, however, two faces of fate that linger around this narrative, two people who appear to profit from and are driven by the manipulation of fate, this power lust of sorts for something approaching control. When Locke returns to spread his word, the word that the island told him to tell, he is swept under the wing of two men who lay the same claims, who give the same reasons, and who ultimately offer the same thing: safety, protection, guidance. We have been taught, with time, to trust neither of them, and with the structure of this episode we have to wonder where the show now sits on these two men. The episode, written by series creators Damon Lindelof and Carleton Cuse and directed by Jack Bender, investigates a period in John Locke’s life where he became another man, where that man had his faith tested, and where John Locke was reborn.

And, well, there’s a lot of things to consider with this.

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Lost – “Jughead”

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“Jughead”

January 28th, 2009

There are some who believe, and who boasted ahead of the episode airing, that “Jughead” is one of the strongest episodes in Lost’s five season run.

I’m inclined to disagree, although not out of malice towards the episode or its intentions.

I liked “Jughead,” a lot, but it felt like a much more purposeful attempt to confuse and overwhelm the viewer than some of the show’s past mythology episodes. There is no doubt that, compared to the premiere, this episode is far more revealing: the island’s pit stop in the 1950s introduces us to some key individuals and ideas which seem to fit together numerous pieces of our puzzle, whether it be Richard Alpert’s reasoning for entering into the life of John Locke or the various details that explain the current condition of Daniel Faraday.

Abandoning the Oceanic Six entirely, the episode is all about trying to piece things together in ways that seem at first unorthodox but then, over time, become more focused if not more clear. My reservations about placing the episode into the show’s upper echelon is that it, as an entity, did not feel like a story in its own right: while we approached some major revelations for Daniel Faraday in particular, the episode never felt like it really had time to apply those to his character and demonstrate those effects.

But no one can claim that there are not now some much larger questions, and certainly the fog is beginning to clear on, at the very least, a few very important things. So that makes “Jughead” an entertaining and momentum-building episode for the show, if not the television revelation that some had sold it as.

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Season Premiere: Lost – “Because You Left / The Lie”

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“Because You Left / The Lie”

January 21st, 2009

Going into tonight’s two-hour premiere for Lost’s second season, I was unsure. Not about the show, really, so much as unsure about my own ability to get back into a Lost frame of mind. I’m only a few days out from the mindfrak that was the BSG premiere, and to enter into a similar level of complexity so soon was something that didn’t feel normal. I love this show with all my heart, through the slow periods and the various leaps through time, but there is a point where you wonder how many more twists and turns you can take.

But from the moment that Marvin Candle puts a record on and heads to the Orchid station to investigate a new discovery, it becomes very clear that there is never a time where a Lost frame of mind feels overbearing. What makes “Because You Left” and “The Lie” so effective is that they are operating are on a whole new plane: what was once a simple construct of present and past, and then present and future, has been eternally complicated by a whirlwind tour through what we’ve experienced, what we know, and what could happen in the future. Before, we were the ones who were traveling through time, but hearkening back to Season Four’s pivotal “The Constant” the show has unstuck its characters in time and we’re just along for the ride.

The result has us perhaps the most confused we’ve ever been, but it makes sense: our characters are just as confused, just as at the whim of the island and whatever crazy sense of time, space and fate this show is holding going into its fifth and penultimate season. This two-hour season premiere, more than the flashforwards or the Oceanic Six before it, has this world in a constant state of change that has fundamentally altered our sense of the show’s direction. If Season Four was drawing the line from Point A, the island, to Point B, the rescue of the Oceanic Six, then now we’re drawing a line between points constantly moving, evolving as we watch into something we haven’t come close to understanding.

We’ve gone from knowing what happens and wondering how the show will take us there to slowly discovering what needs to happen and growing increasingly doubtful that it’s an achievable goal considering the variables involved. The sheer uncertainty of this premiere is exactly what the show needed to put me into a Lost frame of mind: I don’t understand you, Lost, but at the end of the day I will always believe you.

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