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.

A Second Look at "The Cost of Living"

Yemi Is Missing and Mr./Ms. Smoke:

We learn that Yemi’s body is missing after Eko removes the large stone that was impeding his entrance into the Beechcraft. Locke offers a reasonable explanation that Eko’s fire burial may have cremated Yemi’s remains, but this is a rather evident Jesus/Resurrection allegory. According to the Gospels, a large boulder enclosed Jesus’ “tomb.” And upon a revisit to Jesus’ final resting place, it was discovered that his body was missing. In keeping with the scriptures, the disappearance of the body is believed to be the first sign of Jesus’ Resurrection. This reference fits into the religious background of both Eko and Yemi. But it also gives us a hint that, somehow, the black smoke consumed Yemi’s body, resurrecting it in order to interact with Eko later on.

Of course, this also is the second body to have gone missing on the island. Jack discovered that the body of his father, Christian Shephard, was mysteriously vacant from the coffin. Coincidentally or not, Jack saw an apparition of his father and chased him through the jungle. We can be safe in assuming that the black smoke is capable of “downloading” images of a person’s past through memory or by actual physical means (consuming a body). We can then assume that this “security system” is intelligent because the system seems fully capable of reproducing this imagery to a person with the knowledge of how it will affect said person. This “hologram” system, in many ways, acts like the Others in that it manipulates the persons’ senses, weakening them to some extent. Now whether it is a true man-made and controlled security system, or completely mystical in nature – the literal “eye” of this paranormal island - remains ambiguous.

The Others’ Funeral:

The only thing Western about the funeral for Colleen was Brenda Lee’s “I Wonder” blaring on the Others’ sound system. The rest entirely fell in the category of Eastern religious rites and even some Viking territory.

In many Asian cultures, white symbolizes death and, as such, robes or tunics, which were dawned by the Others, are worn at funeral ceremonies. This opposes the traditional Western custom of wearing black at funerals.

Colleen’s cremation and burial at sea is a mish-mash of several religious rites. Cremation is normally mandatory for all Hindus, as it is believed that the ashes need to be poured into the sea so the body can return to the five elements of fire, water, air, earth, and space. As for the burial at sea, it was common for Vikings to place the “heroes” or high-ranked chieftains into small ships after death. The sea vessel tombs were then sent out to sea and set on fire.

With Dharma (Buddhism, Hinduism and a few other Eastern religions all emphasize Dharma in their teachings) already present in our LOST-lexicon, as well as Namaste, a South Asian greeting that originated from India, this idea of Eastern philosophy and religion is prevalent on the island and seemingly with its inhabitants. This is another example of the writers trying to separate “Westernized” ways (which represent most of the Flight 815 survivors) and the “traditions” of the Others.

Favorite Themes:

Two of my favorite LOST motifs were brought back into the fold in “The Cost of Living.” Eyes and dark versus light.

I noticed numerous close-ups of eyes throughout this episode, more so than usual. This was further exemplified in the editor’s room. There seemed to be a definite focus on highlighting the characters’ eyes, making them standout from shadowy backgrounds. And maybe it was just me, but I thought that both Eko’s and Juliet’s eyes didn’t receive the same hue brightening touchup in the edit process.

The black smoke element in the episode represented the black versus white - dark versus light – theme that was repeated throughout season one. Locke’s comment about what he saw – a beautiful light – juxtaposed against what Eko has always seen – a dark mist – is interesting in relation to how the “security system” operates and shows itself to certain people or how it is perceived by the person.

An aside: although personally not a big fan of the "smoke monster" aspect of the LOST story arc (because it seems like too much of a MacGuffin to have in a mystery; an easy cop-out for many dangling plots), I do like the idea of characters facing their pasts, and if their answer as to why this is happening is a badass plume of black smoke, then fine. But I worry that when/if they try to explain the the origin of the smoke, it will be underwhelming and unsatisfactory. Hopefully that won't be the case, and most mystical elements don't need to be fully understood, as long as the use of the element is somewhat contained in the grander story.

Season 3 - Ep. 5 - "The Cost of Living"

Initial Episode Response:

Eko, facing the black smoke of judgment, confesses that he has not sinned, but only paid the price for survival. He did not ask for what was given to him, and did the best he could - and he was "proud" that he sacrificed himself to save his brother at a young age. In the process of Eko's life, the direction of his moral compass led him to the island – and what ultimately would be his final destination.

“The Cost of Living,” episode five of season 3, was full of slight twists, new pieces to the story and a substantial hint that the “monster” has appeared more often than we had thought, but it will most be remembered for the death of Mr. Eko – one of the more dynamic and tragic characters to grace the story arc of LOST.

One question to ask at the conclusion of this Eko-centric episode is, if Eko had admitted his sins and asked for forgiveness (instead of being truthful), would he have been spared? While it seems that may have been the case, it is interesting that Locke originally saw something beautiful – an amazing light, but Eko was confronted by blackness – a smoky swarm of dark - from the very beginning. Then again, it was Locke that was nearly dragged into a hole by the ever-condemnatory fog in the season one finale. Eko’s final words, as told by Locke – “we’re next” – may indicate that the rest of the survivors will now face moral ruling from the "eye" of the island.

As for Locke, he shows that he has the reigns of the beach survivors. The Locke regime is officially in order – though it is not a Jack-ocracy. Locke clearly is separating himself from Jack’s approach as leader, which was secrecy and cliques (granted, that’s less Jack and more the challenges of writing a mystery… with forty non-speaking background characters). Many viewers, myself included, have been critical of the introduction and dialogue given to Nikki and Paulo, but it was nice to see them (the writers) express how they have always felt left out. Hurley, in his dude-ness manner, further articulates just that – “Jack would take Sayid and maybe Kate.” Locke, on the other hand, welcomes all to join – “the more, the merrier,” he says.

The significant development of the episode once again revolved around Jack. Although the obvious came true with the X-rays belonging to Ben, the last Juliet-Jack scene opens up many avenues to explore. Is it another test? Unlikely, but it can’t be dismissed completely. After all, the Others are the masters of manipulation. What the goal would be in a “test” of this nature is the hard one to figure, though remember, Ben made it clear to Jack that he wanted it to be his choice to save him. Undoubtedly, Juliet has presented Jack with quite the choice. But, conversely, if Juliet is being truthful, this tells us that there is a great division among the Others, but not enough to forcefully overthrow Ben – “it has to look like an accident.”

Of course, the introduction of eye-patch guy will have viewers buzzing. It seems that our mystery man left his glass eye in the Arrow warehouse. Who is he? Radzinsky, who was Kelvin’s hatch-mate in the Swan, will be a popular guess. But Radzinsky is dead – he swallowed the wrong end of a shotgun. It’s not like Kelvin would lie. Right? Well, he would and he has - hell, he was in the CIA. Radzinsky made edits in the Swan orientation filmstrip – and those same splices were found with the glass eye. One plus one is two and it equals Radzinsky being alive – that bloodstain on what-used-to-be the ceiling of the Swan station was nothing but DHARMA-brand ketchup, methinks.

There is one episode left before the dreadfully long hiatus and it looks like we’re in store for just about anything. Eko’s death suggests that no one is safe. Locke will lead the way, but there seemingly is little he can do for his captured friends on Hydra Island. And the fate of Kate and Sawyer looks a bit steamy first, and deadly later. But the judgment of Jack is the pivotal moment in the making. Is Jack even capable of "murder," even if it is in his best interests (reminds one Mr. Eko’s fate, doesn't it)? Or is Juliet lying – another ruse in the works? Even if it isn't a ploy by Juliet - just another classic con by the Others - could it be that she has even more evil intentions than Ben? Who Jack decides to trust could save or harm the lives of many. Just what is the cost of living, and what ramifications await?

Analysis

Much like the other characters that have been lost to the big island in the sky (with Libby being the possible exception), Eko reached a resolution before his demise. The resolution may not have satisfied the moral conscience of the island, but it was true-to-form with the character of Eko. Although there seems to be some wasted opportunity from a story-telling standpoint with his death (and we don’t know if this was a strict writers’ decision or an actor wanting to explore other endeavors), it would be unfair to criticize the episode because a much-respected character died. Eko’s story came full circle in many ways, and while some pieces could have been filled in, his narrative was told. Not everyone asks for or is granted forgiveness – not everyone finds redemption. Some just do the best they can with what was handed to them – and quite often, these individuals have unfinished business. After all, Eko never did complete his church for Yemi. Perhaps, overall, his character was somewhat underused, but Eko’s short stint was one of the more powerful backstories in the LOST mythos.

As for the episode, right away it was telling that it opened on the closed eyes of Mr. Eko. As the viewers waited for his eyelids to suddenly unlock, they never did. (Eyes, in fact, were a running theme throughout the show).

Eko’s flashback picked up right where "The 23rd Psalm" ended. As we already knew, Eko was mistaken as a real priest, and he eventually assumed the responsibilities of his brother at the church of a small village. It was Eko’s second chance – as he had made the sacrifice for his brother so long ago, changing the path of his life. But a tiger doesn’t change his stripes. When it turns out that the village is being “protected” by a warlord, who receives a 20% cut of the vaccine sales as payment, we see that what has happened to Eko in the past can never truly be changed. He is a warlord himself - a murderer. But, at the same time, if he wanted to live – he did what he had to do. Killing the village warlord and his minions in this episode was out of self-preservation. Shooting the old man as a kid was for the love of his brother. We might not have agreed with his actions, but we understood his perspective. He was a favorite of the viewers yet there is no denying his corruptness – a hardened criminal who killed many. Though, he tried to seek salvation after Yemi’s death, he realized that he wasn’t apologetic for his actions - as Eko later says to his faux brother, he was proud, he survived at great costs. And that is why his character was so fascinating because he provoked thought and evaluation of individual choices, judgments, and beliefs.

On island, Eko literally battles with past demons. In the jungle, where Eko deliriously wanders, the viewers catch a glimpse of what is to come in his flashback when the bloodied apparitions of past individuals appear from his life. The altar boy materializes from the specter of who we would learn was the village warlord, and he tells Eko to confess - eerily foreshadowing, almost warning Eko, to acknowledge his sins when he faces judgment or he will otherwise be punished. And that is exactly what happens when Eko is confronted by the vision of his brother. Faux Yemi tells Eko that it is time to repent for his sins - to concede that if he had to do it all over agian, he would choose differently. But Eko knew that he wouldn't change a thing. He knew, in a way, that he was the proverbial wolf in sheep’s clothing as he played the role of priest. There was no forgiveness to be granted because none was deserved - not according to Eko. He gave up his soul to save his brother's. Eko accepted this and surrendered to death.

(Many may now feel as if the writers wasted the “tailees” story, but they couldn't be more inaccurate when you consider the significant roles they played in opposing specific characters from the “fusies” and/or how their deaths advanced plots. Eko served as a challenger to Locke while also helping him regain his faith, but that story was told (Eko fulfilled his role as Enkidu from the story of Gilgamesh - the Locke-Eko dynamic greatly paralleled this tale), thus the plot device (Eko) wasn’t needed. The writers were then left with a decision to find another role for Eko or to kill him off. Their choice was the latter, but it did fulfill a purpose – Eko’s death not only reminded the survivors that the island can be deadly, but it also expanded our understanding of the “black smoke”).

Meanwhile, interspersed with the Eko storyline was Locke attempting to “kill two birds with one stone” as his group – Sayid, Desmond, Nikki and Paulo – set out to the Pearl station in search of Eko and the possibility that they could use the computer to communicate with the Others (as seemingly prophesized by Desmond).

We see very quickly how Locke emanates a more open door policy under his leadership. The “confidentiality” that Jack and his select advisors withheld from the rest of the group has always been a frustrating aspect to the viewers and, apparently, the other survivors. This serves a few purposes. First, it is a device used as an “explanation” as to why people were often “out of the loop.” This isn’t the first time the writers have done this – Arzt was a prime example of a “redshirt” voicing his displeasure with being left out. It isn’t truly meant to exonerate the slight annoyance, but for the writers to at least show the viewers that they recognize the abnormal behavior. Again, it is enough of a struggle to write a story with ten to fifteen main characters, let alone one that also has another thirty to forty additional “background” characters. But the writers wanted this option so that, on occasion, they could have a character rise from the background (and with the reception that Nikki and Paulo have received so far, maybe that was a mistake).

Secondly, from a story-telling standpoint, Locke’s ideology as leader – just shown in his first scene – clashes against Jack’s methodology. "I'm not Jack," says Locke to Hurley. Even on separate islands, the Locke and Jack dynamic still exists. Jack is a pragmatic leader that would go to great lengths to keep things concealed because he felt that it would upset the others, but Locke, the idealistic chieftain, is a more willing secret-sharer that allows others to decide on their own. It is very much empiricism (Locke) versus [scientific] realism (Jack). From a personal opinion, this has always been the most fascinating philosophical element of the show - even more so than the Others as the "greater good" and if the ends justifies the means.

The revisit to the Pearl station by Locke’s “merry” gang and their subsequent discovery, via the monitors, of another station with a mysterious inhabitant gives us some new territory to investigate. The feed was coming from a station, with its computer, magnetic tape decks and “Star Trek” panels, similar to that of the Swan. From what we learned with the map in the Swan station, the only hatch (with a name) that our survivors haven’t discovered yet is the Flame. More intriguing, however, is the man with an eye-patch. It certainly appeared that he was wearing a DHARMA jumpsuit and knew he was being watched by the hidden camera. Just who he is and what he knows could function as a major information dump for the survivors and the viewers – unless, of course, he is in league with the Others. As for how they will find the location of this hatch, they do have Desmond to guide them.

(Certainly it was a bit sloppy on the writers’ part to have Nikki be the only bright one in the bunch. No offense to Nikki, but Locke’s “why didn’t I think of that” moment was cringe-worthy. Granted, Locke wasn’t exactly energetic and in the exploring mood after he felt duped from his initial viewing of the Pearl beta-tape. But why not have the former communications officer make the discovery that monitors were recording more stations? It did seem far too contrived - the writers wanted to show us that Nikki was useful, but it seems more and more that new characters will not be accepted unless they are former warlords) .

The real meat of the episode again concerned Jack and his individual interactions between Ben and Juliet. Who is playing whom, and which one is the lesser of two evils are just a few of questions that must be bouncing back-and-forth like a game of PONG in Jack’s head.

Not everything goes according to plan for the Others, it seems. When Jack confronts Ben about the tumor, a quite perturbed visage overcomes him, though he does deny Jack’s deduction at first. Not until after Colleen’s funeral does Ben acknowledge that Jack has surmised correctly. Ben tells Jack that his plan was “shot to sunshine” when he saw the X-rays – a line that only Michael Emerson could pull off in a wily and effective tone. Ben comes clean with his plan to “break” Jack. He tells Jack that he was attempting to manipulate him into operating on him because he (Jack) “wanted to." (He even makes a reference about how Juliet was chosen to care for Jack because of how she looked similar to Sarah). As Sawyer explained in “The Long Con,” a season two episode, the tactic used in any extensive con is making the person think it’s all his/her idea, but in reality, him/her is the one being played – he/she is the true mark. Ben’s plan was to gain sympathy over Jack – to possibly befriend him in some way so that Jack would “think” he was choosing, on his own affection, to “save” Ben.

Of course, telling Jack how he was being manipulated is also a method of manipulation as it now gives him a false sense of security. After this, Jack may feel that he has some degree of control and choice over the situation. Ben, in a simple, unassuming way, has turned a disadvantage into an advantage by being upfront with Jack. This exchange leaves Jack open to an entirely different source of manipulation.

Now the question is if Juliet’s cue card scene is a further ploy by Ben – an extension or amendment to his initial strategy. In some ways, it would be repetitive from a story-telling standpoint for it to be another ruse. But it also would fit perfectly with the idiosyncrasies of the Others. However, we’ve already received some hints that not everything was peachy in Othersville – such as the Karl/Alex intrigue and Juliet’s opening scene from this season’s premiere episode. This is either classic foreshadowing that there is division among the ranks, or obnoxious misdirection by the writers.

The cue card scene itself, with Juliet playing the role of Bob Dylan in his music video “Subterranean Homesick Blues,” was a unique twist that makes LOST one of the better shows on television. It is interesting that in Dylan’s music video, the words on the cards he holds up often don’t match up to the lyrics in the song. This video bares a striking resemblance to Juliet’s speech about how “great” Ben is while, at the same time, denouncing him with the messages on the cue cards.

Though, one would think that a control freak like Ben might make sure that the “To Kill A Mockingbird” movie was not some secret message that calls for your assassination. But maybe that is something we should question; a reason why this could be a Ben-Juliet modification of their manipulative plans for Jack.

Regardless of whether it is another test or, in fact, truth, Jack has a momentous decision to chew on. Juliet seems trustworthy on the surface, with her warm persona and her home cooking for Jack – and don’t think for a second that all of her food visits were insignificant. But remember what Sawyer said about her after she held Kate at gunpoint – “she would have pulled the trigger, no problem.” Even if Juliet is doing this without the knowledge of Ben, we don’t know if is she any better than her potential “predecessor.” Jack may feel that she is the lesser of two evils because of how she has treated him. But what if she isn’t? Everyone’s motivations remain obscure and there is no way Jack can feel comfortable. And furthermore, Jack is not a killer. Ben would be entrusting Jack with his life and, as a doctor, he would struggle immensely with taking that life away. Is Ben an evil that must be eliminated, or is he just a “mockingbird” in the grand scheme of things? That’s up to Jack to decide.

With the climax of this arc now fully disclosed, the final episode should prove to have a very interesting falling action and resolution. And it’s all coming down to Jack’s choice – just like Ben imagined.

So Subtle It’s Probably Meaningless:

“Remember, it’s a sin to kill a mockingbird,” says Atticus Finch, the character who functions as the moral backbone in Harper Lee’s novel, To Kill A Mockingbird.

The novel, like many books, has a few themes related to LOST. For one, the main theme in Lee’s novel is the understanding by the story’s young protagonist – daughter of Atticus - that there is good and evil in the world. Throughout the book, Atticus tries to teach his children that most people have qualities that are good and bad. He preaches that one must appreciate the good in people and recognize the bad qualities by treating others with compassion and trying to see life from their point of view.

Another element is that of the “mockingbird,” which comes to represent the idea of innocence. Thus, to kill a mockingbird is to destroy innocence. One of the prime “mockingbirds” in the novel – and there are many – is Arthur “Boo” Radley. He is a symbol of goodness wrapped in an initial cloak of creepiness.

So, which character in LOST is our “mockingbird?” Could Ben, a man originally shrouded in creepiness, equal Boo? Or did Juliet’s (the writers’) choice of "To Kill A Mockingbird" mean no more than an appreciation of the film/novel?

If there is a “mockingbird” to be found, we may know soon enough.

A Second Look at "Every Man For Himself"

We're the Good Guys:

Much like LOST, another question needs to be presented before one can answer whether the Others are good.

First, who defines this ethical qualifier? And on what basis is morality judged? For thousands of years, the greatest philosophical minds - from Socrates to Kant to Mills - have pondered this question of moral theory.

As a result, there are numerous thoughts and theories on ethics and morals. We have Aristotle’s virtue ethics and his theory of the golden mean, Kant’s categorical imperative, Bentham and Mill’s utilitarianism, and so on and so on. But to get an idea of how to answer the original question, we need to look at two theories that land on the opposite spectrum.

First, we have absolutists that see morality as non-conditional upon human perception. Values are absolute - morals are inbuilt in the laws of the universe, the will of God, or some other deep-seated source.

However, those opposed to the absolutists’ theory on morality feel that the making of ethical decisions does not take place in a vacuum. Moral agents must understand the context within which the dilemma has arisen. Before their powers of reason can operate at optimum efficiency, they must understand the issue itself, the facts of the situation, and the values, principles, and moral duties inherent in the case. In other words, the context consists of all of the factors that might influence an individual’s resolution of a moral dilemma.

An extreme line of this type of thinking is often associated with moral relativism, which is a belief that moral truths are entirely dependent on an individuals’ social, cultural, historical or personal backgrounds as well as the context in which a specific ethical choice is made.

Relativists believe that what is right or good for one is not necessarily right or good for another, even under somewhat similar circumstances. In other words, moral agents determine what is right or wrong from their own point of view but will not judge the adequacy of others’ ethical judgments. Relativists have the attitude that “I’ll determine what’s right for me, and you can decide what’s right for you.”

Now, carried to its outer limits, relativism can lead to moral anarchy by which individuals lay claim to no ethical standards at all (such examples are seen throughout wars such as Hitler and the Nazis reign). A less extreme view, however, is held by those who believe in certain moral principles, such as telling the truth, but are willing to deviate from them if certain circumstances warrant. Thus, the term situation ethics has entered our moral lexicon. Situationists decide on a case-by-case basis whether it is expedient to deviate from the rule. This is ad hoc decision making at its worst and can hardly be used as a model of ethical decorum.

And so, this brings us to the Others (finally!) and their situational ethics. To be fair, we don’t know their motivations – is it survival, are they seeking a greater good – but based on what we have seen so far, we can determine a few things. In their eyes, they most certainly can see themselves as good. Because of the existing theory of situational ethics, it is not difficult to see how they can use it to rationalize, either consciously or unconsciously, decisions and actions that stem from evasive origins.

The Others’ idea of morals can be completely dissimilar from us (and our survivors). To them, being a killer is relative to the circumstances. Torture and psychological manipulation can be justifiable – according to their situational ethics. The Others will exploit a situation to their own ends and feel morally correct doing so because they are situationists to the nth degree – their moral truths cultivate from the societal tree they sprouted from, so to speak.

Our perception of them is poles apart because we (and the survivors) live or lived in a different world. To us, the Others’ can’t be good.

A common notion bounced around by the fandom (which was originally perpetuated by Executive Producers Carlton Cuse and Damon Lindelof) is that our view of the Others will change – that once fully revealed, their motivations will not be nearly as diabolical and their actions may, indeed, justify the means. While I believe this may end up being the case to some degree, I hope, for the betterment of the show, that they don’t throw us some farcical and illogical idea that the Others are serving a greater good.

Can there be a greater evil? Sure. Can they make our survivors more reprehensible (and it’s not like they don’t have their own moral baggage already)? I suppose. But right now, the writers have crafted the ultimate bad guys – flipping it around on the viewers would be a dangerous task that might be tough to buy no matter how brilliantly they pull it off.

Perhaps if there was an inkling of compassion shown by most of the Others in their decisions (certainly Alex is an odd case), we could prepare ourselves better for the ethical twist that the writers are possibly going to throw at us. But we will side with our survivors because we have seen their compassion – even from the darkest characters – and in the end, compassion is a crucial element in genuine goodness.

A (Yellow?) Submarine:

The reveal, by Ben, that the Others’ possess a sub, presumably named Galaga, clears up a few ambiguities.

For one, we can now better understand how easily the Others were able to stealthily evade the “trap” by Sayid and quietly seize the sailboat – until Colleen was shot, of course.

Secondly, one could assume that when Ethan, from season one, killed Scott (or was it Steve?), he “came from the water” via an underwater vessel.

Perhaps, even, the long-forgotten Joanna, the victim of a drowning accident, was no victim at all – after all, she was an experienced diver. There is a chance, during the Others’ surveillance of the survivors, that Joanne spotted the sub and was subsequently taken (granted, I’m not a submarine expert and I’m not sure if, while submerged, divers could exit through an airlock.)

Obviously, the availability of a submersible craft allows the Others to travel between islands at a quick pace, and doing so without warning to our survivors.

Preferential Treatment:

Tom has been very accommodating towards Kate – well, at least as far as the Others’ usual treatment of their captives goes. We have seen Tom concerned about Kate’s cut up wrists from the handcuffs and, in this past episode, we have him telling Kate that if she has a problem with the clothes, to just give old Tom a “holla.”

It seems as though the Others, or at least Tom, are trying to make her comfortable. It may be that they are “pampering” her now because many hardships are impending, or they have an entirely different plan for her apart from physical labor or mental torment. Then again, the change of clothes and dresses likely are a form of psychological manipulation – the Others’ small offerings of kindness may act as the starting point towards Kate developing a form of mind-control syndrome or Stockholm syndrome.

It’s Not Broken:

So what’s going on with the supposedly broken intercom in Jack’s holding area? It was weird enough when Jack heard his father, but we chalked it up as a hallucination. But in “Every Man For Himself,” Jack hears voices through the intercom on two separate occasions.

First, he is startled by the shouts of Sawyer as the Others “operate” on him. But then, in an even more eerie moment, Jack picks up a conversation between two unidentified speakers (one may have been Tom) discussing Karl and how “them two shouldn’t have been brought here.” Who are “them” two? Sawyer and Kate, or Karl and Alex? This also echoes back to Alex’s brief exchange with Kate during “sweatshop” duties – “shouldn’t even be in there” – though again, it wasn’t clear who shouldn’t be there. One thing is for sure, Karl seems to be in the Others’ doghouse.

But the main point here is that this couldn’t have been a figment of Jack’s imagination – he doesn’t even know Karl. One answer is that Juliet lied about the intercom being broken. But still, why have Jack hear these two specific things? Another possibility is that the “purple lit sky” from the implosion of the Swan station caused a short circuit and a form of high RF interference.

I’m Not Used To Death:

From this past episode, we learn that Juliet is a fertility doctor – which symbolically fits her “I’m not used to death” comment later.

Of course, a fertility doctor’s presence on an island that houses or did house several research stations that were endeavoring in electro-magnetic experiments, zoological trials, psychological tests and advanced medicinal methods brings to the forefront a few ideas.

The thought that the Others could be infertile – the byproduct of experimentations – is an interesting one, especially given their interest in child-napping. The ideas of human cloning have to be acknowledged as well, along with potential embryonic research.

Needless to say, Juliet’s age (which is likely around 35-40) makes it doubtful that she was an original member of the DHARMA Initiative. Perhaps, like Jack the spinal surgeon, Juliet the fertility doctor was somehow “drawn” to the island out of need.

A Corny Concerto:

The cartoon Jack was watching in the beginning of the episode is entitled A Corny Concerto, a Warner Bros. production that was a parody of Disney's Fantasia.

One part of the story deals with a black duckling attempting to assimilate with the family of a white swan – and at the same time, a large vulture is aiming to snack on the wedge of swans.

In relation to LOST, the themes seem to touch upon black and white imagery, and the vulture (the Others) as a threat to children. The idea of assimilation is of note, though this isn't a forced method in the cartoon. There is also the obvious link between the white swan and the Swan station.

White Rabbit:

The white rabbit with the number eight painted on its hindquarters is seemingly another nod to Stephen King.

King penned a writing guide and autobiography entitled On Writing: A Memoir of the Craft, and within its bindings is a passage where he describes an encaged white rabbit with an eight stenciled upon its fur. King used this imagery as an illustration of how words have the capability to send and imprint clear pictures and impressions inside a person’s mind.

A white rabbit also has other connotations as well within LOST folklore. The fifth episode of season one was titled “White Rabbit,” and in it, Jack chases a figurative white rabbit (the “ghost” of his father) through the jungle.

Additionally, Sawyer was quite fond of Watership Down – a Richard Adams’ novel about a group of rebellious rabbits in search of a new warren.

And finally, in Of Mice And Men, which was notably featured in “Every Man For Himself,” the character of Lennie is fixated on being in charge of the rabbits on his (and George's) dream farm.

Season 3 - Ep. 4 - "Every Man For Himself"

Initial Episode Reaction:

The fourth installment of season 3, entitled “Every Man For Himself,” was a Sawyer-centric episode in which the Others attempt to earn the con man’s respect by, what else, conning him. We also learn whom Kate chooses (for the moment, at least), what Jack is going to be asked to do, and that the Hydra is on a separate island.

Sawyer’s flashback fed the theme of “every man for himself” quite nicely. Aside from putting a few plot threads into motion, this episode also planted the potential seed that Sawyer will be the one to sell out his “team.” In the end, even despite Sawyer’s resistance to authority, he will work for whoever benefits him the most. In this case, it was the government. Couple this with Ben’s con of Sawyer and subsequent statement of “earning” the con’s respect, and one is left with a feeling that the Others want Sawyer to help them. In return for cooperation, just like in his flashback, it is possible that Sawyer could find an early exit from the island. Whether Sawyer would turn on his “team” is another question. Certainly it is in his nature, and a tiger doesn’t change his stripes. Although again, we witness Sawyer’s softer side in his flashback as he asks for a fund to be setup in the name of his supposed daughter. He prefers loneliness (and Of Mice And Men will be tackled later), yet he often demonstrates compassion for those he cares about. But this is clearly getting ahead of the game.

Of all things, the spinal X-rays were the biggest reveal. Jack is able to quickly decipher a diagnosis from them as he is on his way to the operating room where a wounded Colleen awaits. Putting one and one together, Jack realizes that he will be asked to "save" someone from a potentially fatal tumor located on the vertebrae (the previews elude to that "someone" being Ben). Is this going to be Ben’s request?

Another element this episode brought forth was the humanizing of the Others to some extent. The death of Danny’s wife, Colleen, and his reaction shows us that, for all we perceive about them, the Others are not mindless robots. There’s a disconnect somewhere, no question, but they have loved ones, and they mourn, cry, hurt, will be irrational in the face of grief as well as flinch at the sight of blood or needles. They are flawed like anyone else.

Overall, in spite of pacing issues and some questionable believability in regards to Sawyer’s flashback (which will be addressed later), the episode still worked within the flow of the story arc. There were enough subtle clues regarding the Others (such as their lack of “in the field” experience, Juliet’s profession, etc.) to keep things intriguing while also handing us the likely decision that Jack will have to make. Furthermore, we now see Ben beginning to “work on” Sawyer – the toughest to crack – and winning the first battle. The question of who will be aligning with whom continues to reach a boiling point.

Analysis:

Sawyer certainly is complex, isn’t he? In this episode, he’s a walking, talking contradiction – from “every man to himself” to a heart of gold, both on island and in his flashback. This was another well-layered Sawyer-centric tale that bared his compassionate side for those he cares about, while still maintaining that, at any point, he could sell someone down the river if he sees it as personally advantageous.

From his flashback, we find out that Sawyer spent time in prison, where, at some unknown point, he eventually cut a deal for an early release by helping the government with his conning expertise – his target this time was the hapless Munson, who swindled 10 million from the U.S. Treasury Department. Whether Munson’s gullibility in all this is entirely believable is a minor quibble – he was, after all, smart enough to steal and hide money from the government – but the story did serve the title of the episode well. The idea that Sawyer could turn on anyone for literal or figurative freedom is always a possibility, and one that the audience needs to keep in mind.

And that brings us to Cassidy – the reason Sawyer was jailed. Cassidy very much represents something that James Ford loved, but still cheated. Sawyer feels as though he has a role to uphold – his self-hatred and desire to be hated is almost empowering to him. In part, he may feel that Cassidy is better off without him – at least this is how he rationalizes it – but more than anything, Sawyer is punishing himself with loneliness, as if he deserves it. He was abandoned by his family after a murder-suicide and has always felt abandoned since. It’s his niche, his safety net. He'd rather remain alone so he never has to suffer the loss of anything again.

So when Cassidy informs Sawyer that he is the father of her child, his reaction just further epitomizes his need for “no strings attached.” It’s not exactly responsibility that he is fearful of, but what a likely harmful influence he would be to anyone around him over a long time period - thus driving them away, losing those he cares about. He has sympathy for Cassidy, and because of that, he feels as if he is accountable for the child, who may or may not be his. Sawyer shows his compassion for Cassidy (and baby Clementine) by using the compensation money earned from the government to set up a fund for his alleged daughter. But the key here, again, is that he doesn’t want credit for it – he makes sure to tell the treasury agent that the originator of the fund is to be completely untraceable. No strings attached. The action is not carried out for credit, but more so for Sawyer to keep his humanity to a degree – it’s what keeps him from becoming an entirely irredeemable person, both to himself and the audience.

(Before Sawyer's release from prison, the warden delivers a smoothly ironic line: "Congratulations James Ford, you just lied and cheated your way out of prison. You’re a free man." Freedom is relative in the case of Sawyer - behind bars or not, he has always been imprisoned by his isolation.)

As usual, the flashback ties in directly with the episode’s concurrent island story - though elements get flipped. This time, it is the Others conning Sawyer with the pacemaker ruse. Perhaps the con was predictable, like most of the episode, but it was entirely believable that Sawyer would fall for Ben's ploy - the Others have well-established their diabolical ways (Ben may spout off the party line of how they aren’t the killers, but they are far from innocent). During these island scenes, we see more and more how Sawyer’s actions contradict his words. It must have been three times that he said “every man for himself,” yet he tries to protect Kate. Sawyer believes Ben’s threat that harm will come to her if he discloses what happened, and so he follows his orders, knowing that they are watching and willing to do anything. Again, this reiterates the reason why these two were caged together in the first place.

The final scene of the episode has many interesting aspects and bits of dialogue. Ben tells Sawyer that there was no pacemaker implanted in his chest, that all they put in there was doubt. A great line - which was surpassed only moments later with Ben saying "the only way to earn a con man's respect is to con him." He does complement Sawyer as a con artist… sort of – “you’re pretty good, but we’re a lot better.” But the big reveal to Sawyer is that they are on a separate island, which promotes the idea of Alcatraz, that there is no escape or anywhere to run - the only way off is through the Others. And finally, Ben quoting lines regarding the theme of loneliness from Of Mice And Man nicely caps off Sawyer’s story.

"I tell ya, a guy gets too lonely and he gets sick."

Meanwhile, the B story focused on Jack, and in his first scene he begins to play the role of Ben as he questions why he is talking to Juliet – “you only bring me food” – when Ben is giving the orders. This greatly parallels Ben and Locke from last season – leadership struggle, trust issues, etc. It is clear to Jack, and the viewers, that Ben is atop the Others’ hierarchy. Juliet may think that they make decisions together, but there hasn’t been much indication of this being the case so far. On cue, Ben storms into Jack’s cell and gives an order to Juliet. There’s a situation that needs to be addressed – Ben says the “sub is back” and we learn that Colleen is in critical condition. Later on, Jack is asked to operate on Colleen by Juliet, who we find out is a fertility doctor, not a surgeon. But Jack is unable to save Colleen, the wife of Pickett (nice touch by the writers with Jack beginning to call the time of death - old habits).

(As a result, Pickett takes his anger out on Sawyer – this parallels Sayid taking revenge on Ben for the death of Shannon even though he wasn’t responsible. Pickett doesn’t stop beating Sawyer until Kate says she loves him, which we later learn was only said because, according to Kate, she wanted Pickett to stop hurting him. The writers take a rather cliché and heavy-handed approach with Kate later echoing Jack’s comment from the past about “living together, dying alone," which opposes the “every man for himself” mantra. In turn, this exchange seems to indicate a chasm in the Kate/Sawyer relationship and a point for Jack, so to speak.)

The significant plot point in all this is that before Jack even enters the operating room, he notices a series of X-rays. Jack, who is able to come to a quick diagnosis, places the pieces together. He just happens to be a spinal surgeon and there just happens to be a 40-year-old man with a tumor on his spinal column. The scene ends with Jack asking Juliet whom he is here to "save." The likely candidate is Ben, who is seemingly around the age of forty. Of course, this is LOST, and that is the simple and obvious answer, so it may be wrong.

On the lighter side of things, Desmond, filling the brief C story, continues to exhibit his foresight. This time he not only predicts a lightning storm, but also the exact spot a bolt of lightning would strike. Early on, his actions are shrouded in ambiguity. He first tries to get Claire and her child to move from their shelter by offering to fix up their “roof.” Claire is insistent that they’ll be fine and Charlie interjects by telling Desmond that if it needs to be repaired, he could do it. Desmond then borrows a golf club from Paulo and proceeds to construct a makeshift lightning rod. “It’s an experiment,” he says to Hurley, just seconds before lightning strikes the rod. Did Desmond just save the lives of Claire, Charlie and baby Aaron? Again, is Desmond seeing future events, or is he reliving the past?

With the groundwork now underfoot, the final two episodes will serve as the climax, falling action and resolution of the story arc. Who Jack will “save” and the question of whether he will do it and what he gets out of it will be answered. Could he really leave his friends behind? In addition, the revelation of two individual islands not only makes escape improbable for Jack, Kate and Sawyer, but it also decreases the chance of a rescue attempt by Locke and company. And while the precise roles of Sawyer and Kate in all this continue to remain obscure, along with the Others’ main objective, this episode livened the pace – a pace that should lead to two enlightening episodes, from both a mythology and character perspective.

A Few Observations:

When the Others awaken Sawyer, Tom is talking about how they have been “blind” since the sky lit purple. Paraphrasing: “It’s been two days since the sky went purple. We’ve been blind since then, all our coms are down.” This seems to indicate that the Others have a monitoring system setup throughout the island, but that the turning of the failsafe in the Swan station has limited their security and communicative abilities. It could be that the main island - possibly bugged with hidden cameras and audio mics - is currently lacking operational surveillance. The other obvious possibility is that whatever outside communication they had is now offline.

Before Sawyer is given the hypodermic needle, the young Other is unsure, almost nervous, about the shot. He is reminded by a fellow Other that he needs to place the shot right into the sternum, just “like in the moo…” He’s interrupted, but it seemed as though the word would have been “movie” (hey, maybe it was Pulp Fiction). This seems to indicate a lack of procedural experience – maybe they have read the medical books and seen the training films, but they have no practice in the field. Pair this with Sawyer previously saying that most of the Others didn’t have any real experience in combat. And in addition, we have Juliet, when faced with the shooting of Colleen, not acting like the confident woman she was in the prior three episodes. “We haven’t had anything happen before,” she says. I guess so, because I'd think a working crash cart defibrillator would be on my next supply drop list.

Of Mice And Men was prominently referenced throughout the episode as it was the reading material for Sawyer in prison and quoted in the final act. The Steinbeck novel brings forth a few ideas. The character of George serves as disciplinarian to Lennie, which parallels Ben as the disciplinarian to Sawyer and the rest of the “mice.” Another analogy stems from the themes of the novel – loneliness and isolation, failed hopes and dreams, twists of fate, and the plight of mankind. All of these fit well within the motifs of LOST, but more specifically, they suit Sawyer’s ill-fated life to a tee.

“The best-laid schemes of mice and men often go awry."

Is It Him, Brother?

Desmond Resembling Jesus:

There were religious connotations throughout “Further Instructions,” and the Desmond/Jesus parallelism was most apparent.

Desmond met the criteria of common Jesus depictions - longhair, beard, long tie-dye shirt (similar to a long robe?) leaving his legs bare, no footwear (symbolize holiness; feet on holy ground?) and even the way the sunlight created a rather obvious nimbus/halo around his head (see image below).

Even the imagery of Desmond casting stones into the ocean brings forth Biblical sayings such as “he who is without sin among you, let him be the first to throw a stone.”

I suppose the clincher would be Desmond having a background in carpentry.

It’s not that Desmond is the Second Coming or anything, just that - I believe - the writers might have been hinting that he will become the survivors’ messiah/savior of sorts, with his foresight and Penny Widmore's ongoing quest for the island's location leading to rescue.

A Second Look at "Further Instructions"

Blast from the Past:

My original take on Desmond was that the implosion from the hatch somehow imparted an extrasensory gift to him; however, perhaps Desmond is not predicting the future, but recalling the past. Not sure how psychics usually operate, but the manner in which Desmond delivered his prophecy was not so much a prediction – it was more like he had already experienced it in the past. Hurley, of course, brings up the idea of déjà vu, a term founded by a French psychic researcher in the late 1800s.

In the science community, this experience of déjà vu is often related to a neurological anomaly from an irregular electrical discharge in the brain. Desmond obviously faced the most exposure to the electro- magnetic anomaly in the Swan station. But that doesn’t quite explain exactly how he knew of Locke’s rescue “speech” beforehand.

Now, there are three types of déjà vu, but the one most similar to what we witnessed with Desmond is called déjà vécu – translated as “already seen.” Interestingly enough, Desmond’s favorite author, Charles Dickens, writes briefly about déjà vécu in his book David Copperfield.

The passage reads as followed:

“We have all some experience of a feeling, that comes over us occasionally, of what we are saying and doing having been said and done before, in a remote time - of our having been surrounded, dim ages ago, by the same faces, objects, and circumstances - of our knowing perfectly what will be said next, as if we suddenly remember it!”

Certainly, the idea of a prophet has spiritual connotations as well. In religion, a prophet is an individual that has contact with God, and then foretells the intentions of God. From this concept, I hark back to what Ben said to Locke while in captivity – "Not even God can see this island." As Ben and his group seemingly play gods on the island, has Desmond, since the hatch implosion, somehow already seen the outcome? Has Desmond come in contact with a greater power, has he lived the future, is he psychic, or was it just a fluke? One thing is for sure – nothing is a coincidence in the LOST universe.

Skeletons, Eko, Toy Trucks, Oh My:

The polar bear cave is a prime example of how the DHARMA Initiative has gone fatally wrong. While Sawyer and Kate shack up in the bear cages, the polar bears have broken free from imprisonment and experimentation, even taking revenge on their former captors. The bone-filled den, accompanied with DHARMA-issued t-shirts, shows us the figurative and literal remains of the Hanso-sponsored group. Apparently, trying to achieve the betterment of humanity is quite dangerous for some, and tasty for those with fur.

This scene reminded me of Joseph Conrad’s Heart of Darkness. The idea of barbarism versus civilization quickly comes to mind. The polar bear’s revolt, so to speak, echoes Conrad’s concept of dark motives found in improving civilization and the free will of an uncivilized nature. It also puts forth a thought that this “great man” that Ben speaks of, has lost his way – similar to the character of Kurtz in Heart of Darkness.

And what was up with that Tonka dump truck? Maybe it was Ben’s?

Locke Parallels Key:

It seemed intentional by the writers that the last two episodes had similar situations between two characters – though one on-island and the other pre-island. In “The Glass Ballerina,” Sun is faced with the threat of Colleen. Using classic Others-speak, Colleen tells Sun that she is not a killer. Of course, Sun shoots her, showing us that the Others’ perception of people can be incorrect, despite their intel. Granted, Sun was startled by the start of the boat engine, but I never sensed that Sun would submit to Colleen.

Contrast this scene with Locke and Eddie in the woods from “Further Instructions.” Though Eddie is not an Other (at least for now), his words to Locke were similar to the Others’ mantra of good and bad. Eddie says Locke is not a murderer and a good man, and he is right – Locke cannot pull the trigger. The moralities of all the characters, or an assessment concerning one’s morality by another person, are constantly questioned throughout flashbacks and on-island decisions. It is one of the great motifs in the LOST mythos.

Another parallel derives from Eddie and Ben, who both serve as infiltrators to Locke’s “family.” As we know, Locke is always far too entrusting. Believing Ben in regards to the button was just another case of Locke playing the patsy. The same can be said for inviting Eddie into the commune. Locke’s morality seems to make him susceptible to believing that others have good intentions. And of course, Locke is continuously looking for companionship since his childhood was emotionally empty. He is willing to place faith in people (or things) easily – and unfortunately for Locke, it has came back to bite him more often than not. Even when he begins to question his faith (such as in the island), he makes the wrong choice. In the end, his flaw is not that he puts faith into erroneous things, but that he puts all his faith, hopes and dreams into something that may or may not ultimately fail him. Locke needs faith within himself before anything else – the rejuvenation of “the hunter” tells us that he has regained just that.

And You Are:

Television writers, in general, seem to struggle with expository dialogue/scenes that explain what has happened to other people. So when the writers of “Further Instructions” decided to use the introduction of two new characters as a way to deliver information to the camp, it was in trouble from the get-go.

The entire Nikki and Paulo scene was awkward and forced.

First, it almost seemed as if those two characters were supposed to be introduced earlier in the episode. Secondly, the dialogue they were given will not endear them to the audience. Unless they want the viewers to see her as a whiny, brat, Nikki shouting down Hurley was a poor idea. Paulo, meanwhile, was handed dialogue that made it seem he showed up on the island about three days ago. “Who are ‘they’?” he says in response to the capture of Jack and Co. Are you telling me he doesn’t know who the Others - those rag-wearing, murderous, child-nappers - are despite Locke’s speech from season one?

Dr. Arzt may have been a whiny know-it-all like Nikki, but at least it felt like he was there from day one. His first scene wasn't annoying or forced - it was important to the plot. Hmm, where’s that dynamite by the way?

In the grand scheme of things, this is a fairly minor nitpick (a better nitpick would be Charlie's relatively quick forgiveness of the Locke beatdown), but sloppiness and laziness in the LOST writing department should not happen – not from these guys.

Season 3 - Ep. 3 - "Further Instructions"

Initial Episode Response:

“Further Instructions,” the third episode in season 3 of LOST, was a mythic tale concerning a temporarily mute hunter’s clash with a menacing polar bear, and the birth of a modern-day oracle on the island. One wonders if Carlton Cuse and Elizabeth Sarnoff channeled the spirit of Euripides when penning this Locke-centric episode.

The writers have taken their time with the first three episodes this season by reintroducing the characters’ situations and, with this chapter, setting the stage for a rescue attempt by Locke and company, among other things.

This particular episode, filled with religious overtones and ancient mythology, felt very much like a Greek narrative. Boone as the male version of the Sibyl – an underworld being guiding lost souls. Locke as the hunter – maybe not on Hercules or Orion’s level, but his resurrection to tribal shaman is complete. And finally, we witness Desmond’s precognitive abilities – seemingly reborn into a prophet of sorts (hence the nakedness).

(Whether Eko has some form of retrocognition or if it was simply Locke hallucinating when Eko called him a hunter remains to be seen.)

This was a self-contained episode. It had a beginning and an end, while slowly moving the general idea of what is to come. This may be frustrating to viewer that is seeking answers or, at the very least, more questions to solve. While the episode did serve as a strong but subtle character piece (leaving us with a bundle of Locke psychology to explore), “Further Instructions” was more exposition – more setup to overall arc.

Given that at the end of season two our survivors were separated into three distinct groups, it was foreseeable that it would take three episodes to find balance, so to speak. While not ideal, the writers didn’t have much of a choice, and they did an adequate job setting up the story arc. However, they now need to climatically deliver and resolve the arc in a satisfying manner that not only answers questions but also opens up new possibilities that will hold the viewership over the long hiatus.

Analysis:

It seems as if the hatch implosion from last season was a source of rebirth, not death, for Locke, Eko and Desmond. Although we don’t know for sure how Eko has changed (though a safe bet to assume he did), it is quite clear from “Further Instructions” that Desmond and Locke have transformed, but in different ways. Locke has reverted on a spiritual level – back into the hunter, seemingly the id of his psychology. Desmond, on the other hand, has changed in a more paranormal way – apparently reincarnated into a prophet. Both “weapons” will be key in saving Jack, Kate and Sawyer, or as Boone said, “putting the family back together.”

But before touching on the return of Boone, let’s begin from the beginning – to borrow a phrase from Mr. Eko.

The episode opens with a close up of an eye and pans from there out to Locke, who rests in a field of green. The scene was reminiscent of Jack in the very first episode of LOST, where he also awakens in an odd place given the proceeding situation.

As Locke sees a naked Desmond wondering around in his peripheral vision, he realizes he can’t speak as he attempts to call for help. As Desmond’s nudeness symbolizes a form of rebirth, the same could be suggested for Locke’s inability to speak at first.

With the help of Charlie, Locke builds a “sweat lodge” - a ceremonial type of sauna originally used by Native Americans - and it is later explained in his flashback that this steam hut is a place for meditation where one can find a true role in life. Native American “sweat lodge” traditions would often have a person protect the hut as the participant meditates within. In this case, Charlie serves as the “dog soldier” as he remains outside the lodge.

This experience, along with some classic "wacky paste," leads Locke to one of the more interesting elements in the episode – a very trippy vision quest that is guided by old-friend, Boone.

(Many viewers see expository dreams and hallucinations as a crutch used by lazy writers. However, these elements have been a staple in the LOST universe, in part because of the idea that the island itself is bringing forth these visions. The writers have generally been fair and imaginative when using these hallucinations – perhaps the lone exception being “Hearts and Minds,” a season one episode in which, oddly enough, Boone saw his sister, Shannon, killed by the monster. When dreams are used for cheap thrills, you have deceived the audience – a cardinal sin in writing for television or any creative medium.)

Within Locke’s psychedelic trance, he learns that Mr. Eko is in danger, held captive by an angry polar bear. But more revealing than Boone’s prophecy concerning Eko were his comments on the other characters parceled about the airport mirage.

Boone says that Charlie, Claire and Aaron will be fine… for a while. He also relays to Locke that there is nothing he can do for Jack, Kate and Sawyer… at least not yet, thus insinuating that Locke will plan a rescue attempt.

The imagery of Desmond as the pilot may refer to his involvement in “crashing” the plane because of his failure to press the button. Ben as the security guard takes the role of an authority or controlling force that is stripping away Jack and Co.’s possessions/psychology. The sequence itself was dark and blurred with cheerful expressions upon the faces of discontented individuals – very David Fincher-like.

Boone’s overall message to Locke, which analogizes to the flashback, is cleaning up a self-created mess. Locke did not allow Eko to push the button, which put everyone in danger – and as Locke goes on to say later, if he let Eko be, he could have “saved” Jack and Co. Locke has maybe put too much burden on his shoulders; however, his nature in season two was very self-serving when contrasted with his season one demeanor. This realization of assuming blame and understanding past mistakes in order to avoid them in the future is critical for Locke to succeed in “putting the family back together,” as Boone stated.

And this theme of family was central in Locke’s flashback. We learn, evidently, that after his father's betrayals and losing Helen, Locke has fled his current life and hooked up with a bunch of hippy-like commune folks in Humboldt County, California. On the surface it seems out of character, but in reality, the population of the commune was likely full of people from broken families. As Eddie, the undiscovered, undercover cop, says about one particular girl, “she needs a daddy.”

In this family setting of nature and humanity, Locke feels reborn – he’s a hunter, not a farmer. His days of being easily manipulated are long gone.

But as we watch the flashback unfold, we witness yet another “con” of Locke – this time by Eddie, a young officer just out of the academy working a (likely) drug sting against the commune (it's also possible that the undercover operation was actually investigating a potential bombing threat as people that purchase large amounts of fertilizer will trigger police interest post-Oklahoma City). In the flashback’s pivotal scene, when Locke is faced with a choice to “clean up his mess” by shooting Eddie in the woods, Eddie reveals what we already know about John Locke.

“You’re a good man,” he says. “The psych profile said you were amenable to coercion,” Eddie continues.

Locke once again befriends someone, only to see that person use him in the process of a greater scheme. It fits perfectly with his character. I’d imagine the cop pulling over Locke in the beginning was a part of the undercover operation – allowing Eddie to use the uncle comment, i.e., to endear himself to Locke. Same with Eddie’s background – dead mom, drunk father equates to Locke’s nutty, nowhere to be found mom, and conning, hurtful father.

Although he contemplated it, Locke is not a murderer. This was one mess that he could not clean up because Locke is morally good. In the end, he may have lost his new “family,” but he would have lost much more if he had shot Eddie, an officer simply doing his job.

Another interesting aspect was "the hunter" versus "the farmer." Locke always aspired to be "the hunter" in his life. When he got to the island, he, in fact, became what he dreamed about. But then, just like in his pre-island life, he felt conned and was forced to be "the farmer" again by the button (and by Ben). Yet, since the button turns out to be real, Locke regains his faith in himself (and the island), and he is now "the hunter" again. We can see this struggle within himself from the flashback when Eddie calls Locke a farmer. At first Locke says he "was" a hunter and then, rather meekly, says he "is" a hunter. Locke’s right to choose to be "the hunter" almost acts as a form of protection against manipulation. But really, he is being used either way – by his pot-growing family or by the cop. The decision to let Eddie go was an easy one - it doesn't make him "the farmer" because he already is one.

Certainly Locke’s mistake was bringing Eddie into the commune in the first place, but then again, Mike and Jan never rejected his presence. They were as much to blame as Locke.

With the conclusion of Locke’s flashback and his defeat of the polar bear and rescue of Eko on island, the viewer finally feels that the hunter has returned. Eko’s reassurance to Locke only serves as further confidence to his new role as leader. Locke’s “state of the camp address,” which was foretold by Desmond to Hurley, is similar to that of Jack’s in “White Rabbit” from season one. The tables have certainly turned since then.

While the A story took up most of the episode, the briefly touched upon B story involving Desmond was important. As already mentioned, his potential psychic gift is of great importance to both our survivors as well as the Others. After all, the Others’ interests in Walt were in part because of his paranormal abilities. Certainly Hurley was very intrigued as shown by his almost child-like glee as he watched a stoic Desmond tossing stones into the ocean at the episode’s conclusion. What will Desmond foresee next?

Again, this episode will most likely frustrate mythology-seeking viewers. But this six-episode arc is less about mythology and more about character drama. The theme heading into the season was finding out the true roles of Locke, Jack, Sawyer, etc., on the island, and what decisions they will make – some of which that will most assuredly put lives at risk.

We know from this episode that Locke has solidly confirmed his role as the hunter and tribal shaman – maybe he will “save” them all in the end, as Charlie alluded to in the first season.

It’s tough to preach patience with a television show that is constantly met with comparisons to Twin Peaks and The X-Files and their subsequent downfalls. But painting a portrait or weaving a tapestry requires many individual brushstrokes or threads. In the end, the writers do have a plan and are telling the story at a selected pace. Hopefully they can complete the painting the way they envisioned it when the canvas was blank. Time will tell.

A Second Look at "The Glass Ballerina"

Complete 180:

The development of the Sun/Jin dynamic over 2+ seasons has been interesting to watch. Not only have the viewers witnessed Sun and Jin’s social and psychological transformations, but also, they have their opinions challenged every time more of Sun/Jin’s story is brought to light. Like a mosaic, the pieces in this collection have been slowly placed together through flashbacks and on-island interactions, giving us a clearer representation of their characters.

In the beginning, we saw Jin as a repressive husband and a cold-blooded hit man for Sun’s father. The audience despised Jin’s domineering nature. At this same time, we saw Sun as the loyal but sad and empty spouse looking to escape an oppressive marriage. The audience felt sympathy for Sun every time Jin tried to repress her, whether in flashback or on the island. Now, so much more has been learned about these two characters, leaving us to consider how unreliable first impressions can be, especially on LOST.

The Red Sox Clip:

Besides its personal significance to Jack, one can take it a bit deeper. It's a real event and it reminds the viewer, and Jack, that there is still a functioning world out there. The disconnection in this scene – from the unbelievable circumstances on the island to the “miraculous” comeback by the Sox in the outside world – paints an eerie picture for Jack on many levels. It obviously challenges what his father believed. But it also becomes easier to understand how Jack could seize the opportunity to go home, even if it meant leaving others behind. As Ben says, “on the other side of this glass is home, and I can take you there.” It was actually unsettling to see Jack's reaction to the video clip and Ben’s subsequent statement. Jack may be close to changing his perspective, just like Ben had hoped.

The Boat:

Ben was unaware of Desmond’s sailboat. Presumably, he did not know about Desmond, and perhaps Kelvin as well. Despite possibly not knowing the names, he must have known someone was residing in the Swan station, pushing the button ever so blindly. From Ben’s point of view, it was probably best that whoever was in the Swan station was concerned with the timer, and not the landscape of the entire island. It seems, though, that Ben’s ultimate objective was for system failure of the electro-magnetic regulator, or even for the failsafe to be activated. Ben certainly led Locke into believing that the button did zilch. The ‘”why” in all this remains a mystery.

Jae Lee - suicide or murder:

My initial thought was that the Man In White (from season one) tailed Jin, just to make sure the “message” was delivered. However, with the pearl necklace, a gift refused by Sun, in Jae’s hand, it seems that it was suicide. Then again, it was odd that Jae never let out the slightest scream as he plummeted from the balcony. Was he already dead and tossed out like garbage? Ambiguity is good – the writers don’t have to answer this question, though I am fairly convinced poor Jae couldn’t live without Sun and took the leap.

Island Life:

"My name is Benjamin Linus and I've lived on this island my entire life," said Ben.

The actor who plays Ben is 50-years-old; even giving the benefit of the doubt that his character is around 40, wouldn't he predate DHARMA? Going by the Alvar Hanso video from The Lost Experience over the summer, I am left to believe that the initiative didn't start until around 1970 at the earliest, though maybe I assumed wrongly.

But if true, one possibility is that Ben was being metaphorical, i.e., he was "born-again" on the island, and his life pre-island was irrelevant.

Another thought is Ben being a descendant from the original island-dwellers, or whatever came before DHARMA.

A final guess, which conveniently meets Occam's Razor, is that Ben is lying ... again. This isn't really a stretch given past precedence. In fact, it's the most logical explanation. However, I believe Ben was being forthright - call me an easy mark.

Hopefully more will be revealed in due time.

Throwaway Line:

Sawyer tells Kate that she tastes like strawberries soon after their ruse kiss. Maybe she has become Ben’s regular dinner mate? After all, strawberries were readily available at the beachside breakfast. Either way, Kate is acting somewhat strange. There doesn’t seem to be much fight in her, as evidenced by Sawyer’s jailbreak attempt. Plus, there is lost time between Ben meeting with her and when she checks into Le Bear Hôtel – her wrists were cut up from the handcuffs; what happened? Of course, sometimes a fish biscuit is just a fish biscuit.