Critics Ponder “What They Died For”
May 19th, 2010
Trapped between perhaps the most divisive episode in the show’s history and a sprawling two and a half hour finale shrouded in mystery, “What They Died For” is a bit tough to “criticize.” Generally speaking, the episode was dramatically strong and effective at providing momentum heading into the finale, but with no guarantees that the payoff will live up to our expectations there is this sense of uncertainty which means that this weeks reviews from critics are sort of hedging their bets.
Normally, you might claim this is in some way counterproductive, but it means that critics are focused on making connections to past episodes and offering their own takes on how the developments in this episode apply to larger ideas within Lost as a whole. It makes for another strong week of Lost criticism, as the setup work done in “What They Died For” is mirrored by critics setting up their own perspectives on the series as we head into Sunday’s finale.
So, let’s take a journey around the internet to see what the critics are saying, shall we?
“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.
May 4th, 2010
For the first half of its running time, “The Candidate” felt like the show was going through a list of the ways in which this season has somewhat struggled with its competing narrative foci. The Flash Sideways structure is thematically interesting, but it feels as if the initial “what’s going on” dynamism has been replaced by a sort of meandering structure as Jack stumbles upon connections that we made weeks ago, and reveals elements of the story which bear emotional weight but which get saved until the episode’s conclusion. This might be fine, perhaps, if there was anything happening on the island to compare it to, but through the first half of the episode the show’s action seemed borderline illogical, leaving me pondering just how cranky this review was doing to sound.
And then, at a certain point in the episode, all hell broke loose, and the stakes of the season went up by roughly ten thousand percent. Life becomes a commodity, trust becomes more important than perhaps life itself, and the show’s poetic style gets turned on its ear like perhaps it’s never been turned on its ear before. “The Candidate” is not an exemplary hour of television, struggling mightily to set up its eventual conclusion, but that conclusion ends up being such a rollercoaster that it leaves the show in perhaps the best shape its been all year while leaving us emotional wrecks.
It’s something the show hasn’t really accomplished thus far this season, which means that we’re officially in the home stretch.
“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.
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.
February 23rd, 2010
“I guess we weren’t looking for it…”
When Lost adds new elements to its world, acts of expansion that have been quite common early in the show’s sixth season, there’s always a question of why we’ve never seen it before. Why did they wait so long, for example, for us to meet Benjamin Linus, and why did we never learn about the Man in Black until the fifth season finale? They’re questions that have some merit, certainly, but which perhaps miss the point: the reality is that sometimes things sneak up on you, and things that have existed for centuries are only able to be found when you know where to look (and sometimes Michael Emerson blows away the producers and becomes part of the show’s expansion).
“Lighthouse” is a cross-reality investigation of this idea, of what people are able to “see” with the right information and how those viewpoints change those characters. For some, their perspective is clouded by an infection taking over their mind and body, while for others their perspective is clouded by a life filled with self-doubt and personal struggle. And while we’ve yet to be given the proper coordinates to full interested what the show’s flash-sideways structure represents, it continues to offer a unique perspective on who these characters could have been, which remains a compelling counterpoint to the characters they are and – perhaps more importantly – the characters they are destined, or not destined, to be.