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.