March 10th, 2010
“It was on this island that everything changed.”
I’ve got an extremely early wakeup call tomorrow, so I intend for this to be somewhat less lengthy than previous reviews. However, Lost delivered another solid entry into the sixth season this week, so it’s tough to be too brief: there’s a lot of interesting elements at play in “Dr. Linus” which reveal some new subtleties to the Flash Sideways structure, which reveal more nuance to Michael Emerson’s performance (which I thought was impossible), and which point towards answers to a few key questions without, necessarily, answering them completely.
And so there’s plenty to ruminate, speculate and potentially even pontificate on, so forgive me if my promise of brevity proves to be as inaccurate as the statement above: on the island that we know, everything stays the same, but Benjamin Linus’ story of the island of Elba reminds us that sometimes the most substantial change is how the stagnation of one’s position drives them to the point of disrepair. Napoleon remained Emperor when he was exiled on Elba, but his power was false, and it eventually wore him down: this is the story of a man whose quest for power met a similar end, but it is also a story where change seems plausible and, in another universe, an established fact of life.
From this point forward, it might also be the driving force of this series.
March 2nd, 2010
“You think you know me but you don’t.”
The Flash Sideways structure this season has been taking a lot of criticism from those who think that its opaque intentions are obscuring any meaning that it might have, but I think that in terms of its immediate function it has actually been quite clear. As the show confuses the question of identity through the Man in Black and his various influences, the Flashes offer a glimpse at characters in a far less confused universe who are still just as confused as they were before. Yes, there seems like there is a deeper meaning behind the scenes that is being withheld, and there are times when the connections are too simple to feel eventful enough for the show’s final season, but “Sundown” is a pretty clear example of the basic dramatic purpose of these scenes.
“Sundown” is not the best episode of this short season, nor is it a particularly pleasant one: it is an episode filled with darkness, showing characters taking actions and getting into situations from which there is no real escape. However, it’s a nice bit of analysis of the determinism that dominates this universe, and with a strong performance from Naveen Andrews the episode is able to entertain even if we are none too happy with its outcomes.
February 2nd, 2010
“Nothing is Irreversible.”
To say that I am excited about the final season of Lost is an understatement, but it doesn’t tell the entire story.
I was excited, for instance, for the final season of Battlestar Galactica, but that season had clear expectations in terms of dealing with the identities of the final five Cylons, and was divided into two halves so as to stretch it out further. With Lost, there is no such clarity, as the show could be headed in any bloody direction we could imagine, and it will be completely over in only a few short months. And this is a show that I started watching on day one, that I remained devoted to throughout its run, and that was an important part of my transition into TV criticism.
So “LA X” is the culmination of a six-year journey, and my only hope going into the premiere was that it would feel like the beginning of the end without feeling like the end of the beginning, that it would seem like it was the same show that came before while clearly marching towards a conclusion.
And what we got was an episode of television that turns the show’s world upside down while simultaneously fitting pieces together to work towards that conclusion, and by balancing the two almost to perfection Lindelof and Cuse have made this just as exciting and eventful as I hoped it would be, all while making me even more confused than I was before. It starts a season that promises to probe the above question in terms of an abstract impression of these characters and the journey they have taken on our television screens, a ballsy move that promises another year of complex but precise television.
Welcome back, Lost – we missed you.