Season 3 - Ep. 11 - "Enter 77"

Initial Episode Reaction:

While “Tricia Tanaka Is Dead” reunited the viewer with the lovable beachside gang and further explored the show’s underlining philosophical themes, “Enter 77” walloped the viewer with some good ol’LOST mythology and rejuvenated the overarching plot that is DHARMA-gone-wrong and the story behind the lifelong inhabitants of the fictional world’s most freakishly intriguing island.

The latest episode served as a heavy exposition dump that was executed well, and, as a result, those clamoring for answers should be satisfied to a degree. While new questions arose, the information delivered by our newest philosophizer, Mikhail Bakunin, bestows the theorizers with a load of concrete intel and plenty of raw material to use in crafting an enticing outline of the mysteries behind DHARMA and the Others (or Hostiles).

The introduction of the word ‘purge’ into our collective LOST vocabulary is a strong starting point as the notion of DHARMA engaging the Hostiles inspires a flurry of speculation: were the two entities at peace, even cooperative at one time; did DHARMA actually construct all these stations without knowledge of the Hostiles; what incited the war, or the purge as it will now be known; if DHARMA has been defunct for several years, then are the Hostiles now recruiting scientists such as Juliet. As one can surmise, the ideas are endless – it can be pieced together a hundred different ways, but the picture is becoming clearer. Perhaps the most important question to ask is this: just who would be considered the “good guys” in the purge?

Obviously, Mikhail may have slanted the info he provided, but the suggestion that DHARMA initiated the conflict may be rather telling. Of course, motivations are entirely unspecified – it seems doubtful that any attack was completely unprovoked. At the very least, Mikhail confirmed what many thought: the Others and DHARMA are separate bodies that came to blows.

“Enter 77” also became the first Sayid-centric episode in quite some time. While answer-mongers may view Sayid’s flashback as filler, the metaphor, which offered a much subtler meaning as compared to other episodes, worked as an emotional resonance (through a cat, no less) for the ex-torturer. The concept of facing an unforgettable past has always plagued Sayid – themes of trying to correct the wrongs in life and avoiding the same mistake reverberate throughout the episode.

In allowing Mikhail to live, Sayid has shown an act of restraint, much like his captive, who had all the right in the world to extract revenge, did to him. Not so long ago, it was Sayid on the verge of beating Ben to death, in part, because of the doom of Shannon. However, Sayid, remembering a time when his life was in the hands of another, decides to take Mikhail in as his prisoner, leaving the Russian’s fate up to him. Sayid’s actions in “Enter 77” reconfirm his role as the rational soldier.

Locke, on the other hand, continues to follow the message de jour the island cooks up for him. Finding a new station via the compass bearing emitted from Eko’s religious staff only strengthens his faith in the higher power that is the island. Locke may have egg on his face post-kablooey of The Flame – a source of great insight into the DHARMA project – but the chess game was a test, another sign, and Locke is loyal to the island, continually abiding to the signs. Without doubt, Mikhail telling Locke that he couldn’t beat the computer at chess played cleverly towards his insecurities; after all, you don’t tell John Locke what he can’t do. Don’t think for a second that Mikhail wasn’t already conning the easy mark.

Overall, “Enter 77” functioned as a solid mid-point episode for the season. Questions received answers, and the characters are now walking along familiar paths. The impending incursion upon the Others’ encampment is coming to a head – just who survives and what further secrets will be dished out remain in the balance. Last season, the LOST writers hit their stride with the arrival of Ben (then Henry Gale) in “One of Them” – with the exception of “Stranger in a Strange Land,” the second half of season 3 has delivered a mix of quality character storytelling and mythological revelation. The pace for some may not be fast enough, but if each season of LOST is viewed as a volume in a set of five books (seasons), then only now are we reaching the halfway point of the overarching plot.

Analysis:

The Purge: In political science, the word purge is used to describe the sometimes-violent removal of a populace that is considered undesirable. The Nazis, for example, engaged in the worldwide purge of Jews and other non-Aryans. To a lesser extent, the era of McCarthyism in the U.S. during the 1950s aimed to purge the nation of communists as well as sympathizers to their plight.

Ironically, the Soviet Union, where One-Eyed once resided in Kiev, experienced its own Great Purge in the 1930s when Joseph Stalin launched the political repression and persecution of his people, mostly aimed at the Communist Party. An estimated one million lives were claimed. It should be noted, however, that the purge of the Communist Party preempts even Stalin, though such purges are often associated with Stalinism.

As previously mentioned, the information offered by Mikhail needs to be examined carefully since prejudices taint his outlook. With that said, if we are to accept his story, the Others are the victims of DHARMA as they initiated The Purge. Furthermore, if Mikhail is being truthful, the war occurred within a somewhat recent timeframe – anywhere from five to ten years ago.

Keep this in mind when considering Danielle and her story – just how could she remain so oblivious to the Others, the DHARMA members, and the infrastructure, especially with a semi-war thrown into the mix during her sixteen years on the island. Danielle claims that she never saw any Others, only heard their whispers; Danielle claims, upon every discovery of DHARMA structures, that she has never seen such complexes; Danielle claims there was a sickness, something that, on the surface, seems false, used by DHARMA to inhibit their workers from traversing the island terrain (note the hatch door labeled: QUARANTINE). Also, where’s her boat, and why was her science team packing weaponry and military garb? There’s even more but one begins to grasp the idea.

The possible explanation: she and her team were originally DHARMA. Danielle’s current cover answer – she has avoided all confrontation – is a reasonable one, but the Losties, though larger in number, have interacted with numerous inhabitants of the island and unearthed various structures in less than three months. Then again, the survivors of Flight 815 have been far more reactive; perhaps Danielle’s methods of “let alone, be left alone” work, but it is hard to believe how the loss of her child would not dramatically advance her inquisitiveness.

Anarchy On The Island: Empiricism is trendy, but a little anarchy never hurt. The historic Mikhail Bakunin, a well-known Russian revolutionary, is often considered one of the “fathers of modern anarchism.”

With the word “purge” volleyed about quite about, the idea of referencing a revolutionist and “anti-establishment” philosophizer fits perfectly, while also painting the viewer a picture of DHARMA playing the rogue government role and the Hostiles serving as the “anarchists and revolutionaries” that rose up against an unsolicited “rulership.”

Cat Parable: The writers used Amira’s cat story as taut little parable that wasn’t overly forced, far more subtle than usual. A number of themes stem from her tale of compassion and perseverance. At the forefront is Sayid, whose unforgettable past receives partial forgiveness. While the episode leads the viewer to believe Sayid did torture Amira, the truth doesn’t matter in this case. Sayid Jarrah is a torturer; the names and faces of his victims are irrelevant in the grand scheme. Sayid was able to apologize to a victim; and the victim was able to gain closure by being the better person.

Free will peeked its head over the philosophical fence as well during this flashback. The decision to let Sayid live is a choice of good over evil; this also applies to Sayid with Mikhail, despite the fact that the ex-Soviet has no qualms about taking their lives or his own. Malice exists in everyone; the decisions we make shape our morality.

The idea of forgiveness also paradoxes the Others’ eye-for-an-eye / Code of Hammurabi law as witnessed in “Stranger in a Strange Land.”

Sayid v. Locke: Stay away from computers, John. In fact, make that anything with buttons. More importantly, Sayid the rational soldier versus Locke the instinctive shaman has the makings of a combative dynamic – in many ways, replacing the Eko/Locke and Jack/Locke battles that came before.

It is clear from the outset that Sayid is skeptical of Locke’s whimsical idea of following a specific compass bearing because of the way the sun reflected off Mr. Eko’s stick, highlighting 3:05. Locke’s subsequent detonation of the The Flame station will only swell Sayid’s cynicism towards our bald, fearless leader. Lest we forget, it was Locke who batted Sayid upside the head in season one, thusly preventing the former Republican Guard’s attempt to triangulate the distress signal.

As for Locke, it is difficult to assess his psychology right now since he is all over the place. Throughout his life, he seemingly has always made the wrong choices in life, and while Locke appeared to find a niche on LOST Island in the beginning, things have trended downhill. At his current rate of putting the Losties in harm’s way, one may deduce that Locke is purposely sabotaging any glimpses of hope and salvation. But Locke’s past tells us that he is only trying to do right; unfortunately, his perception is lacking and his instincts are quickly becoming detrimental. As annoying and confusing as he can be, Locke still remains a sympathetic character who desires to carry out noble acts. In the end, Locke may, indeed, save them all, or, conversely, he may prove to be the ruin of another soul – maybe even his own.

Murder-Suicide: Upon her detection and subsequent capture, Ms. Klugh ordered Mikhail to off her and then turn the gun on himself; however, Patchy was prevented from burying a bullet into his brain.

Why did Ms. Klugh choose death over captivity? Sayid’s presence and known occupation from the past provides one good answer. But still, what are the Others hiding? It was seemingly imperative for Klugh and Mikhail to submit to a final grave instead of capture and potentially relaying information to people who just want to find rescue. Why? Perhaps the survivors leaving the island would create far too much awareness of the Others’ living quarters. In a way, it’s understandable after the invasion of DHARMA; and they can’t communicate such issues to the Losties because, well, that would make for bad television.

Season 3 - Ep. 10 - "Tricia Tanaka Is Dead"

Initial Episode Reaction:

It’s nice to see LOST bounce back with an episode not filled with eccentricities and Other weirdness (excuse the pun), but rather a light-hearted, fun Hurley-centric gem that also hit on some of the underlining themes in the mythos of the show. After “Tricia Tanaka Is Dead,” the viewer better understands a number of aspects within Hurley’s psychology, all while doing so in a manner that takes a step back from the oppressing idea of determinism and ventures into the liberating notion of free will, having hope and creating your own breaks in life.

At the heart of “Tricia Tanaka Is Dead” is the complex emotional relationship between Hurley and his father, who abandoned his family seventeen years ago. Ah, yes; yet another chime of the “daddy issues” motif bell in LOST. It is interesting to note that Hurley’s father's listed name is David, which conveniently brings to mind Hurley’s imaginary id-like figure he called Dave during his institution days. Hurley’s father handing him the candy bar and telling him to “live a little” suggests that the schizophrenic creation in the Dudester’s mind is the mental embodiment of his long lost father.

But that’s a side note in the grand scheme of things. The “daddy issues” storyline here actually leads into a more interesting aspect of the episode that deals directly with one of the main philosophical concepts at the center of the series. Hurley, perhaps as a result of his father’s absence and always hoping for his return only to be left disappointed, has adopted a form of determinist philosophy. Although Hurley may believe in limited free will, he has always accepted what has been thrown his way - the Numbers are cursed, Desmondo has turned into the Amazing Kreskin, he caused the deck to give way, etc. In his (pre-island) view - much like Locke - everything happens for a reason and destiny is set for everyone.

In sharp contrast, Hurley’s dad was free will all the way - perhaps to the point of irresponsiveness. As said by David Reyes, and later repeated by his son, luck is made by oneself, not predetermined. At this point, after all the horrors he has seen, Hurley finally feels the need to find hope, change luck - and, much like Desmond - he is struggling with the domineering nature of universal correction. But this isn’t to say his outlook has changed. For one, Hurley still - like Locke with Eko’s religious stick - looks for signs, reasons why the DHARMA Volkswagen will start. So, despite his triumph in luck changing, a grand plan of determined fate lurks within Hurley.

This episode, while filler in one sense, greatly reinforced the ongoing struggle of free will versus predetermination. For each character, the answer to this question is different - and, as a result, each of his or her redemptive journeys on LOST Island will follow varying paths. Locke seeks meaning behind all things, as each trial faced is proof of a higher purpose. Jack is positioned on the other side of ledger, firmly believing in free will. Then there is Desmond, who is battling the idea of nature’s way - a future already fixed by the universe. Perhaps then, in the middle, is Hurley - a molded determinist - trying to accept a form of free will and an unrestrained fate; but much like his difficulty accepting his absentee father, the transition is far from easy, especially when your hopes were shattered so long ago.

The episode also moved the main plot along ever so slightly with Kate returning to camp only to head out in search of Rousseau’s help regarding the Others’ camp. Kate’s revelation to Danielle concerning her daughter also works on a metaphorical / philosophical level. With the idea of finding hope in mind, the news delivered by Kate to Danielle serves as a healthy dose of hope renewed. Along with Charlie testing his impending demise, the Rousseau ending fit perfectly with the message provided in the episode.

Overall, “Tricia Tanaka Is Dead” was not heavy in mythology or even much of a transitional, plot-moving episode. However, it did take one of the central philosophical ideas at the nucleus of show and proceeded to tackle it in a refreshingly comical and abnormal manner. The black humor hit its stride - making it easily the funniest episode of series (with the help of Cheech Marin) - and Jorge Garcia continues to play Hurley’s innocent optimism to a tee.

Analysis:

Shambala: Not only a great tune by Three Dog Night (originally written by poet Daniel Moore), but also a reference to some more Buddhist tradition - a DHARMA favorite. According to various ancient Tibetan texts, Shambala (often spelled Shambhala) is a mythical kingdom hidden within the Himalayas. In Sanskrit, the term Shambala means a “place of peace.” In Buddhism, the kingdom is only meant for those who have reached the level of pure enlightenment.

From wikipedia:

“Shambala is ruled over by a Kulika King ... The Kalachakra prophesizes that when the world declines into war and greed, and all is lost, the twenty-fifth Kulika king will emerge from Shambala with a huge army to vanquish the corrupt and usher in a worldwide Golden Age. Using calculations from the Kalachakra Tantra (a Tantric Buddhist time-wheel), scholars such as Alex Berzin put this date at 2424 AD.”

The concept of Shambala suits the idea behind LOST as a story about various characters in need of redemption. In a way, the island serves as the antithesis of Shambala – instead of tranquility, the Losties are faced with hardships and trials in order to reach a sense of enlightenment within their selves. All the characters are driving along various roads. Only some will travel down the metaphorical road of Shambala.

Neat Blueprint: Although brushed aside (at least for now) by Sawyer, plans for a road system on the island by DHARMA Inc. always made practical sense; so it is nice to see the writers address the issue. Of course, what exactly happened to poor Roger (Work Man) remains a mystery; and the idea of more terrain vehicles seems like a possibility.

It’d be somewhat disappointing if the blueprint didn’t serve a larger purpose beyond the reason for a van being on the island in the first place. Tactically, you would assume it would offer an idea as to where the Others’ camp or additional stations could be located.

Season 3 - Ep. 9 - "Stranger In A Strange Land"

Initial Episode Reaction:

Descriptors used to assess transitional episodes often fall into the “meh” category. “Stranger In A Strange Land” was no exception. Exposition overload? Check. Forced plot devices? Bingo. Montage ending? You bet. In many ways, episode nine of season 3 represented the epitome of bad stock screenwriting 101. Even the episode’s bright spots were overshadowed by dramatic heavy-handedness and contrived metaphors that simply had no place.

In most LOST episodes, the writers excel at balancing the flashback and on-island story in congruence with a compelling allegory. Or, at the very least, the writers relate the choices made in the centric-story to the current circumstances upon the island. However, when the analogy comes off as forced, the episode fails to ring true. This especially is the case when the writers attempt to connect the proverbial dots with curved lines instead of straight ones.

“Stranger In A Strange Land” is a poor episode because it carried an obtuse, unclear goal – and did so in a not-so-pleasant stylistic manner. Jack’s flashback tells us precisely what we already know about him: he is a leader, one who exhibits hidden noble qualities; but within him exists undermining aspects of his personality - stubbornness, impatient, anger - that pushes people away. All of this has been previously established in past Jack-centric episodes; and, as a result, the repetitive storytelling that plagued “I Do” also damages this past episode

The LOST narrative trademark has always been found in the relationship between past decisions and present situations, and the tie-in usually works so well that the viewers can anticipate how a certain character will react to a specific event. Rather than moving Jack’s character in a clear direction – either towards his heroic progression or his inability to overcome the negatives within himself, which could lead to a disastrous result – the episode leaves confusion and ambiguity. In fact, the viewers are only left with the literal meaning of Jack’s tattoo as a potential suggestion concerning his eventual role on LOST Island and among the Others.

Overall, “Stranger In A Strange Land” lacked an inclusive focus while the writers appeared to struggle with paralleling Jack’s background story to the island on-goings. Even some of the parallels that “worked” stumbled out of the gate and never felt fluid, but rather, forcefully engineered by the writers. The promotions department also didn’t help the episode since it was advertised as something that it obviously wasn’t and teasers gave away more than they should have. Considering the previous two episodes, this one was bound to suffer, but that’s not an excuse. Nevertheless, all seasons hit obstacles and setback episodes; and one would hope that this hurdle is jumped in the future.

Analysis:

Tattoo: The translation of the Chinese characters tattooed on Jack’s shoulder reads, “He walks amongst us, but he is not one of us.” The Others’ sheriff, as Tom describes as her, interprets that as an ironic statement given his current situation. Aside for the fact that ‘ironic’ is the wrong word to use, the saying is actually a different way to refer to a leader. After all, a leader is often forced to separate him-or-herself from the rest of the group—therefore, he is not of the same ilk as the others.

Jack’s response to what the tattoos translate to is interesting as well. He says that is what the tats say, but not what they mean. When he received the tattoo, he was told it would brand him as “a leader, a great man … but one who is lonely and angry.” To Jack, that’s what it means, and that's why he demanded it. After turning in his father, Christian, he needed validation and an understanding that he did the right thing but would be tortured by it. He may have never known what his tattoo truly said if not for that moment, but the story behind the tattoo carries much more weight.

Stranger: Taken in context with this episode, the novel by Robert Heinlein entitled, “Stanger in a Strange Land,” may tell us quite a bit about the direction Jack’s character could take. One can conclude that the meaning of Jack's tattoo (to those in Thailand) is not simply “Stranger who walks among us” but more along the lines of “Stranger who comes to lead you.” The Thai boys wanted no part of this outsider taking on any kind of leadership role in their society so they violently forced him to expedient as soon as possible. The Other's reading of it may have been a literal translation, but the true meaning hints towards Jack’s destiny to lead the Others.

Season 3 - Ep. 8 - "Flashes Before Your Eyes"

Initial Episode Reaction:

“Because maybe … you're gonna be the one who saves me,” sings Charlie as a déjà vu’ed Desmond approaches him. Just one example of the cleverness and depth found in one of LOST’s masterpiece episodes.

While the full-on flashback was utilized as a plot device to reveal Charlie’s date with death, “Flashes Before Your Eyes,” like most LOST episodes, includes underlying themes, subtle foreshadowing and the fundamental question that remains at the epicenter of the show: fate versus freewill.

It is always a challenge, and major risk, to step away from the customary formula and draw up an innovative blueprint for an episode. LOST is never formulaic in its storytelling, but the writers consistently produce episodes with about one-third flashback, two-thirds island. However, the writers managed to take the normal format and furnish it with a charming and captivating twist. The end result was an episode that not only appears to have long-standing implications on the central story arch, but is also the provider of bountiful speculation on the deepest philosophical questions. And at the very least, the information unearthed in “Flashes Before Your Eyes” needs to be examined in context with the nature of Mystery Island. Desmond’s transcendence of time, or whatever state he has found himself in, may just be scratching the surface of what is going on with our Lostaways.

With this episode, the writers flex their muscles, both with conventional storytelling in a new environment and cavernous theoretical contemplation. The episode not only fleshes out the story of Desmond and Penny Widmore while reconfirming the classic motifs of the whiskey-swigging Scotsman – with a coward’s badge upon his chest, a good man who will never be great – but also what happened to him upon turning the failsafe key in the Swan station. Desmond, reluctant to believe it at first (and the viewers are with him), has seen his whole life flash before him, even parts of his life that have yet to happen.

How this is possible, even in a pseudo-science sense, becomes tricky, both for the writers and onlookers. Perhaps these are delusions of grandeur triggered by the electro-magnetic implosion, coupled with a run of good luck on the part of Desmond’s precognitive ambitions. Time (perhaps literally) will tell how it all holds up.

In the course of Desmond’s elongated flash to the past, we also are introduced to a fresh theme, though more of a second cousin to prior philosophical ideas. The ring lady oracle describes it as course correction by the almighty universe; in other words, the inability to escape fate. Like the Greeks before them, the writers of LOST are thematically echoing halcyon tales where the Tragic Hero stands at the crux of it all. Desmond, LOST’s version of Agamemnon or Oedipus or countless others, is destined for ruin, knows when and how it will occur, but can do nothing, despite best efforts, to avoid it. Of course, the ruin in this case, on island, is the demise of Charlie.

The writers have also re-utilized another element that prevailed throughout the first two seasons: acceptance of the island’s desires versus confronting the inevitable. Although a brief scene, Locke’s willingness to believe that Eko’s death has a greater meaning and was meant to be, very much represents the fate served down by the universe, as suggested by Desmond’s oracle friend. In contrast, Desmond is not willing to accept such a fate as he actively tries to alter the outcomes (Charlie’s death) set forth by the universe, the island, God or whatever. This very easily could be referred to as science versus faith, Locke versus Jack, all over again. Are the writers setting up further Polar Opposites, contrasting parts in yin-like and yang-like personas? Maybe, but that remains to be seen.

Overall, “Flashes Before Your Eyes” served as a unique glimpse at Desmond’s history, but this time with more than just a metaphorical tie to the island story. The writers take a chance and shake up status quo, in more ways than one, but do so in a surprising and provocative manner. The repercussions of this episode are quite intricate, and if crafted soundly, they should act as a telltale sign towards the meaning behind the series.

Analysis:

Dave Hume: While we learned the full name of Desmond last season, it seems even more appropriate to discuss the philosopher given what was learned in “Flashes Before Your Eyes.” David Hume, an 18th century philosophizer, obsessed over, among other things, the relationship between free will and determinism. Hume was a strong believer that free will and determinism were compatible and capable of co-existence.

From wikipedia:

“According to Hume, free will should not be understood as an absolute ability to have chosen differently under exactly the same inner and outer circumstances. Rather, it is a hypothetical ability to have chosen differently if one had been differently psychologically disposed by some different beliefs or desires. That is, when one says that one could either continue to read this page or to delete it, one doesn't really mean that both choices are compatible with the complete state of the world right now, but rather that if one had desired to delete it one would have, even though as a matter of fact one actually desires to continue reading it, and therefore that is what will actually happen.

Hume also maintains that free acts are not uncaused (or mysteriously self-caused as Kant would have it) but rather caused by our choices as determined by our beliefs, desires, and by our characters. While a decision making process exists in Hume's determinism, a causal chain of events governs this process.”

Of course, how can one have free will if everything is determined?

Well, when Hume says some kind of determinism is required if one wants to have free will, he is talking about knowing the results or effects of an action – otherwise what good is free will if one never knows what will come of his/her decisions – what positives, what negatives?

Another way to think of Hume’s suggestion is to question the belief of the past being fixed somehow, especially since certain results and effects in science seem to cast doubt upon it. Some physicists and eastern philosophies put forward that determinism might have a relationship with every element of the universe just as the universe influences every other part.

Yes, a fire will always consume wood. But, if you could foresee death, and know how it occurs, well, you'd be throwing a mighty big wrench in the plans of the almighty universe and the laws of nature.

The Time Paradox: Time travel is a complicated and touchy area for even the greatest of sci-fi writers. In the LOST world, where every mystical element of the show (allegedly) has roots in the pseudo-science realm, the writers have a challenge on their collective hands. But let’s try to explain one possibility of how time works, which snuggly connects with the concepts of David Hume.

Look at time for Desmond as a folded accordion, with the past, present and future overlapping and existing all at once. When he is in the past (the "flashback"), he is recalling things that have yet to happen; when he is in the present (on island), he is foreseeing things as if he has already experienced them. Desmond is basically transcending space and time; the flashes he is now experiencing on island (Locke's speech, the drowning, etc.) are much like the flashes he was experiencing in his flashback (i.e., the beeping from the hatch, the numbers, etc.). Physically, Desmond is in one space in time (the island), but another part of him is experiencing or has experienced the future, though he only receives bits of information from that future (like he did in his reliving of the past).

OK, Sherlock. But it isn’t possible, not in any pseudo-science sense.

If you put a gun to my scientific theory-mongering mind, I’d say true. But the greatest physicists in history have battled the mysteries of the universe and lost far more than they won. Conjecture and speculation without proof is frowned upon, but it inhabitants religion and the early stages of many scientific-thinkers hypotheses. The point is: time is an ever-growing challenge for scientists. Many believe time is not linear or one-dimensional, but rather as three-dimensional as space is. This idea, which is certainly meta-science but science nonetheless, is that time happens all at once. A metaphor to illustrate the idea is a stone thrown into a still pond, where the ripples, representing time, move out from the center of the contact point. Each ripple acts as different time lines with different experience, yet at the center is the stone, or the person. Of course, the stone, or the person, is only aware, and experiences, a linear path of time. But what if you could experience them all?

Another pseudo-science thought is that we are more than our physical bodies – certainly LOST has its share of examples with near death experiences, out of body experiences and forms of remote viewing. So if all time is simultaneous and we are more than our physical bodies, then perhaps we exist everywhere at once and it is only through a selective focus that we seem to be here in the present world. But what if Desmond, as a result of the electro-magnetic implosion, transcends this selective focus?

The plausibility of all this can be found within a populist explanation of string theory. Stephen Hawking was brought to the forefront after we sneaked a peek at Aldo reading A Brief History of Time; and the ring lady oracle’s listed name in the press release was, you guessed it, Ms. Hawking.

The Oracle: OK, so you just offered a mediocre reply to what happened to Desmond, but how does the old ring lady work into all this transcendence of time gibberish?

This is a better, and tougher, question to answer. It actually requires a much further paranormal explanation. The oracle could serves as a representative from the island, the universe, fate, etc. – all possibilities are supernatural and have no basis in even pseudo-science. The simplest answer is that Desmond’s oracle represents his subconscious, as offered by Desmond himself. This seems like an appropriate, Occam’s Razor-type answer.

But another possibility exists. If Desmond is transcending time and space, the ring lady could be as well. Contextually, she could be involved with DHARMA, the subject of The Valenzetti Equation, or whatever freakiness that inhabits the island. She could be a representation of evil – one that wants Desmond to succumb to fate. This may be a bit too far out there for LOST - combatant time travelers is pushing it. But smoke monsters are tough to comprehend as well. Hey, it’s a sci-fi show – can’t accept it, get while you still can.

The Wildcard: Desmond’s best pal, Donovan, who is a professor of physics in London, is advising a grad-student on her thesis that likely concerns Chaos Theory or something interrelated. Donovan is concerned with the research’s inherent unpredictability, making mention of the random qualities of life (such as a drenched Scotsman running into the rotunda). Such a comment brings to mind The Valenzetti Equation – a mathematical formula that “predicts the exact number of years and months until humanity extinguishes itself.” As Alvar Hanso explains, the purpose of the DHARMA Initiative is to change the numerical factors of any one of the core numbers (4, 8, 15, 16, 23, 42) in the equation in order to give humanity a chance to survive.

This begs the query: is Desmond the wildcard factor required to successfully alter the literal end of humanity, not just the mathematical guesstimate that intends to decipher the same? This is a rhetorical question.

Widmore and Whiskey: The whiskey bit, a brilliant monologue penned by Damon Lindelof and Drew Goddard, established Charles Widmore as one of LOST’s sinister characters. Desmond isn’t even worth a measly swallow of Widmore Sr.’s valued MacCutcheon spirit. This brand of whiskey serves to symbolism Desmond’s unworthiness to Charles and Penny; and though frequently staring him in the face, the whiskey seemingly remains unattainable. That is, of course, until Charlie digs up a bottle on LOST Island. We understand perfectly why Desmond reacts with maniacal laughter towards the MacCutcheon after his pseudo-flashback - on the surface, it is irony at work, and at its best; but it also a notable sign that Desmond is worthy and capable of being a great man. Just one of many elements that came together in an episode that easily highlights season 3.

Oz: The red shoes were more than “a bold fashion choice worth noting" - they also were another obvious “Wizard of Oz” allusion after the man wearing them was crushed by a falling scaffolding, leaving only ruby-esque colored slippers protruding from slabs of metal and further wreckage. Ms. Hawking uses this “accident” as a demonstration of her principle belief of universal course-correction when one tries to alter destiny.

But the Oz reference itself may have an underlining meaning as well. What if, like with Dorothy in Oz, Desmond was not in another dimension of time, but simply knocked out and dreaming of his escapade to the past? The counter argument, however, is that Desmond can see the future; therefore, the turning of the failsafe key and subsequent implosion caused a time rip somehow. Perhaps it is a little bit of both – part dream (of the past), part precognitive abilities (from the present). Either way, time is no longer enslaving for Desmond - we just aren’t quite sure how or why.

Charlie’s Fate: Hieronymus Pace has had his brushes with death. He certainly appeared dead after Ethan strung him from a tree. Dr. Ethan came after him again later and a Rousseau trap nearly bludgeoned him to death. Then there are the near misses prevented by Sir Hume. Since LOST never shows its full hand, it seems likely that Charlie will not die. And, after all, the idea that you can’t change fate – that you have no control over yourself or others – is rather bleak and depressing. This is not to say that the ending will be a happy one, though; the possibility of someone taking the place of Charlie when it is his turn to roll the die of fatality is quite high. Desmond, to prove he is not a coward, to prove destiny wrong, may make the ultimate sacrifice in the process.

Season 3 - Ep. 7 - "Not In Portland"

Initial Episode Reaction:

A little aversion therapy, a sermon in Dhammapada, and a breakthrough in male mouse fertility – yes, LOST is back. And if the Others already weren’t creepy enough, the fact that one of them was brushing up on Stephen Hawking and cosmology only cements the hodgepodge of oddness that encapsulates the all-knowing, all-controlling island dwellers.

Season 3 continued on Wednesday night with “Not In Portland,” an episode that not only presented us with a game-changing perspective of Juliet, but also reconfirmed prior queries regarding DHARMA’s reach beyond Mystery Island and upon the mainland. Of course, we refer to them as DHARMA but reality tells us that the Others and the Hanso-funded group are not one in the same, at least not completely; and the parent group (whether it be Mittelos or not) off-island may be an entirely different entity, far removed from the grasp of Alvar Hanso.

The episode itself, taken as a stand-alone, was well-paced with enough action and bits of weirdness to stay engaging. But when viewed as the capper to the pod of six shown last year, “Not In Portland” works on several levels – thematically, philosophically, emotionally, and structurally from a narrative standpoint.

Perhaps “Not In Portland” is best appreciated if placed adjacent to “A Tale of Two Cities.” From the very first episode of season 3 we felt a symbolic connection between Jack and Juliet but now we have the evidence to back up how similar these two characters are in the LOST mythos. Obviously, Jack and Juliet are both successful, groundbreaking, miracle-inducing doctors but the comparisons simply begin there, not end.

In flashback, we observe a very weak and timid demeanor from Juliet, especially when contrasted with her battle-tested, more independent, on-island persona. J.J. Abrams, who was scheduled to direct the episode, dropped out due to other commitments, but in his steed, Stephen Williams did a fine job selling the psychological changes within Juliet by highlighting them physically (with an assist from Elizabeth Mitchell, of course). Notice, on multiple occasions, as the episode cuts to close-ups of Juliet’s face in the past and then how her appearance is quickly altered when shifted to close-ups in the present. In other words, from pale skin, watery eyes, emotional expressions, soft curls, and defensive smiles to tanned skin, unwavering eyes, steadfast visage, straightened hair, and smile-less confidence. This juxtaposition illustrates a woman who may be frightened at the core but has found a way to overcome, find strength, and move on (we can only imagine what tasks she has carried out and hardships she has faced over the last 3 years, 2 months, and 28 days of her life).

In many ways, Jack has a similar story. There’s no need to rehash too much, but psychopath-stalker Jack finally found resolve concerning Sarah on Hydra Island, and his progression from reluctant leader to a heroic one meshes nicely with Juliet’s found leadership (or mutinous actions). Above all, both worked with loved (or once loved) ones who were at the top of their professions while being overly controlling and negative influences. Of course, the writers still re-validate this symbolism in the episode when Kate retells the story about Jack and his mistake on the operating table with the young girl. The account paints us a pre-island Jack that is scared and overwhelmed with intense fear, but one that he will defeat. During this rather poignant scene there are numerous reaction shots of Juliet and her eyes tell us that she is impacted. Juliet and Jack mirror each other and there is bound to be friction between them or as a result of their connection.

Overall, “Not In Portland” wasn’t flawless – a few cringe-inducing cliché moments standout (for example, the shooting of the walkie-talkie) and a potential irritating plot-hole remains - but a fresh backstory filled with subtle hints toward the overall picture should leave the parched throats of thirsting-for-LOST-viewers moderately quenched. Now the writers just need to keep it up and we’ll discover soon enough if they have done their job as the storytelling has the opportunity to flow without the hindrance of rhythm-derailing, viewer-dispatching repeats.

Analysis:

Another LOST opening sequence, some further deception. The creators of the show have trained us fairly well when it comes to recognizing misdirection, but if spoiler-free, the setting at the outset of “Not In Portland” proved tough to crack. An outwardly beautiful nightly beachside where ocean waves reflect a horizon bounded by a purple twilight arch. A gloomy Juliet searches the waves for answers as she stares outwards to the salty waters; a scene that slightly reminds us of a despondent and famished Jack after consoling Rose and seeing the apparition of his dead father. The trickery is amplified with the cameo of Ethan Rom as he walks past Juliet in a hatch-like hallway. The lack of recognition between the two is a clue, but we become distracted when they cut to Juliet as she stockpiles a few Desmond-like vaccine vials and proceeds to administer a shot into a pregnant woman, a la Dr. Ethan injecting Claire in “Maternity Leave.”

But, of course, Juliet, Ethan, and the pregnant woman are not on LOST Island. Rather, they reside in Miami, Florida, and by episode’s end, we learn that Juliet is a prisoner of the Others just the same as Jack and his troupe of survivors - quite a turn of events.

From “Not In Portland” we can discern a few important aspects of the Others: one, they recruit “personnel” off-island, at least they did as far back as September 2001; and two, their desperation for a renowned fertility doctor connects with their desire to abduct and study children. The 70-year-old womb in a 26-year-old’s body is another clue towards the Others infertility. The why, per usual, is a bit hazy. It’s interesting that Juliet’s arrival on island dates back to a mere few days before 9/11, but 2001 was also a year human-cloning debates, trials, laws and studies were at an influx. Then again, the producers have ruled out even mentioning the word ‘clone’ in the show, but it fits perfectly in a pseudo-science sense.

Staying within the flashback, we are also introduced to Edmund Burke, Juliet’s ex-husband who heads the Miami Central University Medical Research Laboratory. Burke, yet another direct reference to an 18th century philosopher, is first unaware of Juliet’s underground fertility experiments on her sister, Rachel. Once discovered, Burke lets her continue but puts her in check. If her research is not shared, he promises that light will be shined on her trials and ethical questions will certainly follow. Juliet very well could be ruined. At the same time, if her experimentation finds success (which it does), Edmund, as Juliet’s superior, wants his name in the papers and, perhaps, most of the adulation. Basic blackmail. It’s also the reason why Juliet decides against joining Mittelos because she knows Edmund will be ready to blow the whistle on her “morally questionable” research.

But all is well when a Greyhound tattoos Edmund – this coming only a day after Juliet met with Richard Alpert, lead recruiter of Mittelos Bioscience, and bluntly joked that she was trapped in Miami unless Edmund came face-to-face with a two-ton bus. Got to love good black humor. How Alpert and company orchestrated Edmund’s death seems fruitless; it’s a simple narrative tool, nothing more. Unless, of course, the Others actually can twist fate with the machinations of some anomalous mathematical equation.

Another example of the Others all-knowingness is once again witnessed as Alpert is aware of Rachel’s pregnancy. Alpert says they are very “thorough” in their research of potential recruitments. One would suspect that Ethan played a pivotal role in the recon process.

(Note: Richard Alpert, much like Edmund Burke, is a direct reference to an actual person in history. Dr. Richard Alpert, otherwise known as Ram Dass, is a contemporary spiritual teacher and psychologist best known for his exploration of the human consciousness and concentrated research with LSD and other psychedelics. This leads quite nicely to Karl’s conditioning/aversion therapy to be discussed later.)

Although we do not know exactly what happens following Alpert’s re-offer to Juliet, we can obviously assume she accepted. Alpert even seemed forthcoming with information regarding the corporation he represents; only it doesn’t turn out to be a six-month operation. How many others were duped, and then imprisoned, like Juliet?

On island, once an awakened Ben overhears Jack squealing (and rightfully so, he had to play his last card) on Juliet, he holds a private conversation with her. Even opened up on an operating table, he still drives the bus. As we later learn, Ben has asked Juliet to help Kate and Sawyer escape, thus allowing Jack to finish the operation. In exchange, Ben has promised to let Juliet depart the island. Essentially, it is the same offer Ben presented Jack. But a wrinkle is added in the end as Juliet kills Pickett. Can Ben allow a murderous traitor to go home? Did he ever intend for her to leave in the first place? The ramifications from Juliet’s action are unlikely to be lenient; after all, that would not make for very good storytelling.

The B story - merely an extension of the A story - centered on Kate and Sawyer’s escape with help from renegade Alex, who, much like her mother, has a knack for traps and underground hideouts. A side-quest develops as Alex barters Kate and Sawyer into helping her rescue Karl, who is being held in a subsidiary of the Hydra station. After pulling the old Wookie gag, they find Karl seated within Room 23, which blares techno-industrial music and has a film projector rolling a medley of subliminal images and phrases. Karl, strapped into a chair with LED goggles plugged over his eyes, is being fed something (likely a drug) intravenously.

The entire scene brings to mind the Ludovico Technique in the film “A Clockwork Orange.” The technique in the film is a form of aversion therapy, in which a person is given a drug that induces extreme nausea while being forced to watch graphically violent films. The idea is that when the person even has a violent thought, he grows cripplingly nauseous and is rendered incapable of carrying out any violent action.

In this specific case, a subject may not have been receiving negative stimuli, but positive stimuli, because the images and phrases met the DHARMA doctrine. But all told, the procedure seems a bit out there even for the Others; it’s likely that Karl wasn’t being given anything outside of fluids. But it does tell us about the complete insanity that was the DHARMA Initiative, and demonstrates how the DeGroot faction became manipulative, cultish, and outright dangerous in their studies.

At the end of the episode, with Pickett shot dead, Ben stitched up, and Sawyer, Kate, and Karl sailing off to the main island, we are left with several questions: What will happen to Jack? How useful will Karl be as an information source to the Lostaways? And will Juliet be freed? Unfortunately, the answers will be delayed as we delve back into the main island castaways.

Extra Notes:

Major plot-hole watch - when Jack astutely asks Tom why Ben couldn’t have been transferred, he says that since the sky turned people communication is a no-go with the outside world; but the sky didn’t turn purple until a handful of days ago, and Ben found out about his tumor long before then. This lost communication plot device isn’t a good enough escape clause for the writers. Ben either can’t leave the island for some unknown reason or the writers have backed themselves into a corner …

When Kate retells the story of Jack and his confrontation with Fear, the direction focuses on a number of close-ups of all the characters listening in. Sawyer’s expression just about sums up the rekindled mutual feelings between Kate and Jack …

As mentioned previously on the blog, Alex is Ben’s father but not biologically. Alex would not even know of Danielle or the fact that she was abducted. Therefore, she assumes Ben is her father because, well, she was told so …

Religious references - Rachel was the second and most beloved wife of Jacob and among her sons was Benjamin. The notion that Ben is the son of Jacob should be locked away in our memory banks. Also, one of the phrases on the Room 23 film read, “God loves you as He loved Jacob," which may be a Biblical reference to Psalm 47:4 …

Dhammapada is a Buddhist scripture. The phrase “Plant a good seed and you will joyfully gather fruit,” which was shown on one of the slides in Room 23, is found in the scripture. Further phrases like “We are the causes of our own suffering” and "Think about your life” likely refer to Buddhism’s Four Noble Truths, and the phrase “Everything changes” also imitates known Buddhist text …

The Other named Aldo was reading A Brief History of Time, which was penned by Stephen Hawking. The book attempts to explain, in layman’s terms and with diagrams, subjects in cosmology such as the Big Bang theory, the creation of black holes, and Superstring theory. Seems as if the Others are interested in theories concerning the formation and evolution of the universe just as the viewers of LOST are interested in theories regarding the origins of the Others and the evolution of the island ...

And that note transitions nicely into the final and most intriguing one - by reversing the audio during the Room 23 sequence, a woman's voice is heard repeating "Only fools are enslaved by time and space" (the exact phrase is yet more DHARMA dogma that can be found in Buddhist Perspective of Time and Space). A little backmasking never hurts in the brainwashing process. But again, another time reference. Time, folks, it just might be a huge clue to the central mystery of the show. Not only is Mittelos an anagram for 'lost time' (or 'time lost'), but there is also a well-known never-to-be-shot scene between Rousseau and Sayid in "Solitary" where everyone's favorite French woman reveals that her science team's research involved time. According to rumors, the dialogue never made it beyond the original script draft because it revealed far too much.

There is, however, some question regarding the accuracy of the reversed audio (which can be found here) and whether it has been doctored, but it is evident from just the basic reversal of the audio that a woman is saying "only fools are enslaved ..." The clearer audio (which can be found here) has eliminated excess noise and altered left-right speaker volumes; despite claims to the contrary, it is accurate.

New LOST-related Web site?

Check out mittelosbioscience.org.

This corporation supposedly plays a significant role in tonight's episode entitled, "Not In Portland."

Mittelos is an anagram for "lost time," but it also means indigent in German.

EDIT - Since posted, this site has been confirmed as fan-created. My guess: the fellows at Harvard had their fun with this site after receiving a sneak peek in January.

Season 3 - Ep. 6 - "I Do"

Initial Episode Reaction:

I already know that there will be a great difference of opinion on the fall season finale of LOST. If you watch the show for the mythology of the island and the overarching mystery, you were disappointed. If you enjoy character drama and conflict, you were satisfied. If you’re like me, you prefer a mix a both – the wait for answers is tolerable because the story and the characters involved are so riveting. And if you fall into that category, you probably had mixed feelings about episode six, “I Do.” Because I know I did (excuse the bad pun).

A deep character episode without much mythology can work, but this Kate-centric episode wasn’t deep – it was a duplicate of past Kate-centric episodes, only with a different central male figure. It’s a tough game the writers have to play because a character should have a set in stone motif in his/her fictional moral fiber. But at the same time, we realize that Kate was “born to run.” And we know that she doesn’t want to, but doesn’t have a choice in the matter (by the way, the marshal was lying when he said he wouldn’t chase Kate if she settled down; he was baiting her and the writers used this exchange to repeat her theme of running away). In other words, many flashbacks feel repetitive because the theme is repetitive. The challenge for the writers - in this case, Cuse and Lindelof - is to take a new spin on an old idea. And for me, Kate’s backstory fell flat on its proverbial face because it didn’t have that “fresh car smell” – it smelled more like an old, beat up, 1986 Buick. It was filler that served only a few purposes – to remind the real casual viewer of Kate’s psychology, and/or to give a quick two-hundred word abstract to any new viewers that haven’t watched LOST before.

That said, the island “stuff” is what makes a potentially poor episode work overall, even if it wasn’t “the best episode of LOST ever.” (I’d imagine Cuse and Lindelof cringe when they see these overhyped promos). While the Locke-Sayid scenes left a lot to be desired (with the all too ambiguous message on Eko's prayer stick), the story over at Hydra Island was attention-grabbing, even with its contrived, soap opera-ry flaws and dues ex machina moments.

Jack has regained (?) an edge that quickly raises the level of his character. Him not buying into the Others’ mind-games is perfectly fitting, but he has taken actions we wouldn’t have expected – though, that’s a good thing. It turns out Jack the spinal surgeon has a spine and the courage to turn the tables on the Others. Point Jack, even if it is irrational hubris – the downfall of all heroes in classic, tragic literature.

Kate was very interesting to observe as well, and her actions are appropriate based on what we have learned about her from past flashbacks (as stated, this latest backstory only inadequately reconfirmed what we already knew). However, while her "mating" choice of Sawyer may have satisfied the "shippers" out there, it seemed forced by writers in order to appease a select portion of the audience. Then again, the Others' certainly played a significant role in Kate "choosing" Sawyer, which turned out to be the final straw in "breaking" Jack.

And while the Ben-Juliet dynamic wasn’t greatly expounded upon, we did receive a bunch of tidbits regarding the situation of Alex and Karl as well as a hint by Pickett that Ben isn’t the one in charge. Who is Jacob and what was the original list?

Taken as a whole, this six-part “mini-series” had its ups and downs, but it delivered enough quality storytelling to pass the test. Yet, as mentioned, if you’re a mystery-loving fiend, the first six episodes probably failed to whet your appetite. In part, you may have to be naïve to stick with the show; have faith that the writers will feed all of us a healthy dose of mythological soup after the hiatus. Some like to skip to the end of a thick novel, but with television you don’t have the option. It will be interesting to see how this episode (and the pod of six) fares in holding the viewership over the break.

Analysis:

With most Kate-themed episodes the idea of running away is always prevalent and never subtle. Because of her past actions, Kate will never be able to stop running, unless she is ready to face punishment – a thought she isn’t quite fond of. Throughout all of her flashbacks there is another common theme – a central male character, either physically there or emotionally present within Kate’s psyche at the time. Tom, Kevin, her father(s), even Ray Mullen and the marshal all represent male individuals that have played a role in Kate’s “born to run” motif. Sometimes these characters are “traitorous” to Kate’s cause; sometimes they are the innocent victims of her fight-or-flight responses; and sometimes they literally and figuratively represent the voice of authority, power and order over Kate’s forever-chaotic, on-the-run life – they are the reason she runs and the only ones keeping her from stopping.

And from these most recent Kate flashbacks, we see her run away from someone she truly loves as her marriage to Kevin, a Miami-Dade police officer of all things, abruptly ends when the truth of her situation overcomes her. The marshal sarcastically told Kate that he would stop chasing her if she “settled” down, but in reality, the issue at play here was Kate’s realization that Kevin would eventually find out her true identity – whether from a wanted poster in the police station or her inability to gain a passport for a trip to Costa Rica. Kate is not choosing to run - rather her decisions from the past are controlling her actions in the present. It’s a simple game of run or be caught but with much higher stakes.

Kate’s flashback does neatly slide side-by-side with her on-island story. Running, not wanting to run, leaving someone you love behind, and having to run because the alternative is much worse. What this flashback did well was contradict Kate’s decision to leave Kevin to her insistence to stay with Sawyer and her hesitance to leave Jack. In the final scene, Kate doesn’t want to abandon Jack even though she has every reason to think that running is the best option (despite her knowledge of Hydra Island). The island’s greatest gift to its inhabitants has always been redemption, and this is the first time we witness Kate taking a step towards embracing it.

One element to this episode, and to the overall story arc of this mini-series, that felt forced was Pickett holding Sawyer responsible for the death of his wife. But upon further thought, it makes sense beyond an easy plot device and also serves another intentional or unintentional purpose regarding Sawyer. First, his target for vengeance makes sense in that a person who is in a distraught and irrational state of mind like Pickett would blame a person – especially an accessible one – associated with his wife’s killer, even though said person was not involved - just think about the reactions right after 9/11 when random Muslims were verbally threatened or even physically harmed, i.e., guilt by association. And we can’t forget that Sawyer broke Pickett’s nose earlier, and he was now seemingly expendable by this point - Kate and Sawyer were just “bait” for Jack after all.

From a character defining standpoint, the scene with Pickett literally faulting Sawyer for Colleen’s death is another reminder to the viewer that Sawyer not only takes blame for many things – deserved or undeserved – but also that he doesn’t mind it. It’s as if he feels he should be the bad guy because that is his role in life. Take the season one episode entitled "Confidence Man" in which Sawyer is wrongly accused of stealing Shannon’s asthma medication, yet he never denies the accusation. This action prompted Sayid, with Jack’s “supervision,” to torture Sawyer over absolutely nothing.

The meat of this episode heavily revolved around Jack once again. Even though it was Kate-centric, the pulse of Jack was ubiquitous during the Sawyer/Kate scenes. Kate is directly used as tool by Juliet to push Jack towards operating on Ben. But Jack doesn’t bite. Oddly enough, it is an indirect action that sways Jack into the Others’ favor. The Others’ “plan” (though more likely a coincidental moment that Ben took advantage of) has worked when Jack sees Kate and Sawyer together on the monitors. Ben assumes that Jack will now give up on his “friends” to gain exodus from the island. Indeed, Jack is less than pleased by Kate’s choice, and he tells Ben he’ll do the surgery. It’s a victory for Ben. But remember that quote from Of Mice And Men – “the best-laid plans of mice and men often go awry.”

(Of course, it seems unlikely that this was a part of Ben’s master plan; though it does fit nicely, doesn’t it. After all, Alex, who was heard on the “broken” intercom, unlocked the door for Jack, briefly setting him free. And since it seems that Alex is a renegade amid the group - not a collaborator – it is doubtful that all this was another work of genius by Ben. Overall, the Alex character is interesting, and, very much like her mother, Danielle, she has the tendency to pop in and out of the picture and be the insider and the outsider of a group all at the same time. Then you have Alex asking Pickett about Ben during her slingshot escapade, and, later, Ben asking about her before going into surgery. This indicates yet another complex father-figure relationship – it is more than possible that when Alex was ‘napped by the Others, Ben took her in as his own [really should have given her another name, though]. And if Alex has that type of relationship with Ben, it would explain why she could be as disruptive as she has been and remain unharmed – although, the Others, according to Alex, have no qualms about hurting people she cares about [Karl].)

But back to Jack and his actions in the operating room. It is safe to say that what transpired was unexpected by the Others and, to some degree, the viewers as well. But Jack has always been the hero-figure since the very opening scene of the pilot episode, and so it was not entirely unexpected when Jack displays ultimate heroism in the final scene as he decides to sacrifice himself for the sake of Kate and Sawyer. As luck would have it, he has no knowledge that they are being held on this Alcatraz-like island, and escape is several miles of swimming in shark-infested waters away. However, we can assume that Kate will relay this information to Jack, who, in turn, will negotiate a boat (perhaps Desmond’s sailboat) for their getaway.

It is interesting to reflect back on “The Glass Ballerina” and recall what Sawyer said following his uprising in the labor camp. He said to Kate that they had to wait for the Others to make a mistake – to slipup that one time so they could take advantage. To say the least, the Others blundered big time with entrusting the life of Ben in Jack’s hands. In some ways, I suppose, it was understandable how the Others thought they had Jack pretty well mapped out – he would save life, not put life at risk. But being the bright bunch that they are, the Others should have accounted for the fact that Jack doesn’t trust them; whatever psych profile they had on him from the real world doesn’t apply on the island. Now, in the end, Jack likely will save Ben, but he needs Kate and Sawyer to be safe first, and he seized a major opportunity to achieve that laudable goal.

Also, given Juliet’s message to Jack, he may have some safe haven if something happens to Ben. But, Juliet did want Ben’s death to look like an accident. Certainly she would have to separate herself from Jack if Ben died now. Keep in mind, however, that whatever her plan was has not been completely foiled – that is, unless, Ben survives. Juliet’s compassion for Jack and his friends may or may not be genuine, but, if we believe her message, she does desire Ben’s fatal downfall as well as a chance to claim more clout (she tells Jack she doesn't like taking orders).

Perhaps the most significant aspect from this episode that we should store away in our memory banks is Pickett’s mention of Shephard not being on Jacob’s list. This gets back to the original intentions of the Others – which was the abduction of certain people, and especially their interest in children. It seemed that once the abductions were completed, Ben, seeing that a spinal surgeon had landed on the island, wanted Jack’s services. Ben seems to be breaching protocol a bit to serve his own needs as it was never “Jacob’s” intentions to “capture” Jack and, for that matter, Kate and Sawyer (thus why Pickett is seemingly allowed to execute him).

From Pickett’s not-so throwaway line, it would be safe to assume from all this that there is a larger figure at play – another puppeteer pulling the strings. Who knows, it may turn out that the Others are captured themselves and are being forced to do Jacob’s biddings. This also gets back to the idea that there are many fractions of Others – they work together, but there is a hierarchy of power, which we thought Ben topped.

Also of importance was the brief C story with Eko’s funeral. Just as Locke is about to thank Mr. Eko for regaining his faith, he becomes fixated on a message engraved upon Eko’s prayer stick. Before this scene, Locke was trying to convince himself that Eko had died for a purpose – a purpose he couldn’t quite understand yet. It’s interesting, and somewhat concerning, that he ends up finding purpose and direction from this message. Concerning because Locke has a tendency to put faith into falseness – his overactive imagination can get him, and others, in a lot of dire situations. Let’s hope, for John’s sake, that this message has good intentions.

The message itself read, “Lift up your eyes and look north,” and below it, “John 3:05.” The peculiar thing about this is the zero before the five – it is uncommon for the passage to be referred to as John 3:05 as usually, perhaps always, it is read as John 3:5. The other oddity is that the line isn’t even from John 3:5, but from Genesis 13:14-17. John 3:5 reads, “Jesus answered, Verily, verily, I say unto thee, Except a man be born of water and of the Spirit, he cannot enter into the kingdom of God.” The likely answer to why the scripture quoted is from another passage and also why it read 3:05 instead of 3:5 seems to have been done to place meaning on the numbers or sequence of numbers. The use of John was actually a part of the message, i.e., “Lift up your eyes and look north, John.” So now, how will Locke interpret Eko’s message and where will it lead him (besides north)? A good guess is that he’ll find Hydra Island and help his friends across the way. Another thought is that the message could lead to One-Eyed Willie’s station. It was all very vague (perhaps too much so, to the point of making this brief episode story very underwhelming) and so anything is game.

Overall, this was a solid episode that was hurt by a redundant flashback and hype from ABC’s promo department. It will probably leave most mystery-lovers feeling unfulfilled - some may even abandon ship. But I never felt that this six-episode arc was ever going to delve much into the mystery aspect of the show. This was an isolated story that dived into character conflict and it would have a conclusion over a short period of time (obviously this conclusion won’t occur until episode seven). If the story wasn’t compelling and if the character interactions weren’t satisfying, maybe this long break will keep you away. But hopefully not, because this was a solid start to a season that still has sixteen or seventeen hours left to explore other DHARMA stations, more of the island terrain, interesting characters, as well as the number of questions we have – where are the kids, why are the Others doing all this, what about Penny Widmore, etc. There is a lot of ground to cover and more than enough episodes (with no repeats, “NOT EVEN ONE”) for the writers to tell a compelling story the rest of the way.

Lift up your eyes and look towards February because a long wait lies ahead.