Tag Archives: John Locke

Series Finale: Lost – “The End”

“The End”

May 23rd, 2010

“There are no shortcuts, no do-overs – what happened, happened. All of this matters.”

[For more of my thoughts on “The End,” check out my analysis of the critical response to the episode, which expands on some of the points I raise here while bringing up arguments that I didn’t get to.]

I don’t know where to begin.

I know how I feel about “The End” because I have notes which capture my intense emotional responses to the action onscreen. I also know many of the points I want to make about the episode as a whole, and how it fits into the sixth season, and how it works with the remainder of the series. In fact, I could probably write every other part of this review but the first sentence, and I’d probably be able to fill it in just fine after the fact.

However, that would be dishonest: it would make you think that I, the moment I sat down at my desk after the finale finished airing, knew precisely the topic sentence which would boil this finale down, the words that would unearth its secrets and solve its mysteries. I may know the things I want to say, and I may have my opinions about the quality of this finale, but I don’t know what I can really say to get it all started.

As the quote above indicates, and as I believe the finale embodied, there are no do-overs: what happened, happened, which is why you’re reading a short meandering consideration rather than a definitive statement. “The End” lacks any definitive statements: we learn nothing about what the island really is, we get no new information about the Dharma Initiative or any of the people involved, and the episode leans towards spiritual conclusiveness rather than any resolution of the series narrative. Lost doesn’t try to end in a way which closes off its plot holes or pieces together its own meandering qualities, but rather creates an episode that says the journey was worthwhile, that the time these characters spent with each other and the time we spent with these characters was all worth it.

And for all of the questions that we may still have – and trust me, I think all of us still have questions – I firmly believe that the quality of this series finale and the overall quality of the series simply cannot be among them. Beautiful and heartwrenching, “The End” captures more than any other series finale I’ve watched the sum total of the series’ experience, awakening in viewers the same power of recall which pulls together half of the series’ narrative.

Lost was more than our experience, featuring a complex plot which goes beyond those powerful and emotional moments so lovingly punctuated by Michael Giacchino’s stirring music, but I feel “The End” paid respect to the series that’s been: it may have taken shortcuts, and it may have prioritized certain questions differently than some viewers, but at no point did it feel like the series was making that argument that what we saw tonight was the only thing that mattered.

All of this matters, for better or for worse, and by wearing its heart and soul on its sleeve Lost has gone out the same way it came in: presenting a very big world with some very big ideas through the eye(s) of those who live their lives within it.

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Lost – “What They Died For”

“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.

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Lost – “The Candidate”

“The Candidate”

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.

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Lost – “Everybody Loves Hugo”

“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.

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Lost – “Recon”

“Recon”

March 16th, 2010

There are only so many ways that we can talk about the “Flash Sideways” structure of Lost’s sixth season before we discover its deeper meaning, only so many ways that we can pass judgment while technically reserving judgment.

However, I will contend that those who suggest that the structure is meaningless without a sense of the big picture are overstating things: yes, episodes like “Recon” might become more interesting with a rewatch once the pieces start to come together, but the structure is capable of being interesting in its own right. Like the original flashbacks, the segments are more dependent on individual characters than the show has been in a long time, and so we love episodes featuring Locke and Ben while we become frustrated with episodes featuring Kate and whatever other character we don’t tend to like very much.

I’ll be curious to see how people respond to “Recon,” a Sawyer episode that threatens to rewrite the character’s fairly popular transformation during the “LaFleur” story last year. Part of what made Kate’s flash so problematic was that it felt regressive: it’s one thing to hearken back to an earlier structure that focuses more on these characters, but it’s another to show them more or less exactly as we’d seen them before. Some even argued that Sayid’s flash had the same problem, in that it didn’t show us anything new, or really change our perception of the character.

Personally, I think that we can take a lack of change as a fairly substantial clue to the deeper meanings at play here, but what makes “Recon” work is that the changes we’ve witnessed on the island feel as if they have heavily influenced the James Ford we meet in the flash sideways. The changes between this Sawyer and the one we saw in the first season are not dissimilar from the changes between the Sawyer who crashed on Oceanic Flight 815 and the Sawyer who was known as Lafleur, and it’s the sort of change that says more through simple character drama than any plot-based exposition could ever accomplish. The scenes are as much a reminder as they are a reveal, and while that might not currently seem fitting for a final season I think it’s all going to work out in the long run (or the long con, if you prefer).

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Lost – “The Substitute”

“The Substitute”

February 16th, 2010

In Esquire Magazine’s fantastic feature on Roger Ebert’s struggles with cancer and the surgeries which have left him unable to speak, there are a myriad of passages which are emotional and poignant. However, the one that resonated with me most is the section where Chris Jones talks about Ebert’s dreams:

“In his dreams, his voice has never left. In his dreams, he can get out everything he didn’t get out during his waking hours: the thoughts that get trapped in paperless corners, the jokes he wanted to tell, the nuanced stories he can’t quite relate. In his dreams, he yells and chatters and whispers and exclaims. In his dreams, he’s never had cancer. In his dreams, he is whole.”

Ebert’s story is hugely powerful, and while a fictional character can’t possibly compare I feel his story offers valuable perspective on the narrative arc of John Locke. For Locke, the island was like a dream (but not actually a dream, at least we presume), a place where everything he was unable to accomplish confined to a wheelchair became possible. When John Locke woke up on that beach able to move his legs, it was his miracle, and he went forward in the rest of his life as a believer, someone who felt renewed faith towards whoever was responsible for his miraculous recovery. He was “whole” in a way that he had never experienced before, as if his kidney and his legs hadn’t been taken away by his spiteful father.

But John Locke was always scared: he was scared that it would all be taken away from him, desperate to solve the puzzles of the island so that this dream wouldn’t end. Locke became a believer not because he felt safe, but rather because he felt deathly afraid of what would happen if the dream ended, and the tension that defined his life before arriving on the island never truly left him even when he was able to move his legs.

“The Substitute” is about John Locke, who he was and who he might have been, but it is also about what John Locke was searching for. At the end of the day, he wasn’t searching for faith so much as he was searching for a purpose, and we learn in this episode that Locke was no more chosen than anyone else, which in some ways would have given the man a sense of peace before his tragic end.

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Lost in “The Incident” Part One: The Ramifications of Jacob

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Lost in “The Incident” Part One:

The Ramifications of Jacob

Every good season finale should do two things: it should place into context the actions of the previous episodes, and it should in some way hint or infer what might happen in the future. Of course, there is no exact science on how to do these things: there doesn’t need to be a distinct cliffhanger in order to excite viewers about what might take place in future episodes, and at the same time there doesn’t need to be a tidy conclusion to the action of the season for it to feel as if it has all come together.

One day out from “The Incident,” Lost’s fifth season finale, what I find most interesting is how the events of the episode manage to tie up absolutely nothing, end things on a cliffhanger with almost no evidence upon which to base hypotheses (which I’ll get to in Part Two over the weekend), and yet forced viewers to rewrite their opinions of the entire season thus far whether in regards to character motivations, theories of time travel, or even something as simple as the allegiance of an entire faction.

While the show has often used flashbacks and flashforwards as a way to alter the very fabric of the show, for the most part that was either illuminating a new plot point (people leaving the island), an individual character, or a macro-level showrunning decision that’s impact within the narrative itself was fairly limited. In this instance, what the show delivered was the installation of an idea so gut-bustingly radical that it does all of these things, introducing new plot elements and giving new depth to characters and their allegiances, while taking the usual show-running involvement and building it into the show itself.

In some ways, the two characters that we meet at the beginning of “The Incident” are the showrunners within the show, those who are there to pull some strings, to set into action events, and to watch as they unfold. However, there are obvious limitations to their abilities, and two very different philosophies behind them. Their identities, and the potential influences that inspired them, are the most important factor heading into the show’s sixth and final season, and the one that I’m going to try to wrap my head around here.

Because, in my view, the past, present and future of this island, these people, and this series all depend on them…or, more accurately, on their action or inaction. And so, in today’s first of two posts trying to figure out just what the finale’s events mean for the seasons that have come before and the show’s final season, let’s take a gander at the biggest revelation at all: the existence of two men who (arguably) rule them all.

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