What did you think of "Happily Ever After"?
So AWESOME it was my Constant! 12 (63%)
So GREAT it was my Happily Ever After! 5 (26%)
OK 2 (10%)
As BAD as getting your neck snapped by Sayid 0 (0%)
As HORRIBLE as being tested in Widmores Generator 0 (0%)
Votes so far: 19
What were your favorate moments in "Happily Ever After"?
Zoe's first test subject 0 (0%)
Desmond hitting Widmore with his IV stand 7 (41%)
Desmond & Claire's moment 2 (11%)
George Minkowski as a Limo Driver 4 (23%)
Desmond & Widmore moment 3 (17%)
"NOT PENNY'S BOAT" moment 12 (70%)
Desmond & Charlie's moments 5 (29%)
Eloise once again telling Desmond to not pursue Penny 8 (47%)
Daniel explaining the Flash Sideways and his notebook 13 (76%)
Desmond finding Penny at the Stadium 8 (47%)
Sayid taking out Widmore's men 2 (11%)
Desmond leaving with Sayid 3 (17%)
Another one 2 (11%)
Votes so far: 17
Room 23
A gathering place for those who love the ABC TV show Lost. This blog was started by a group of Fans who kept the Season 3 finale talkback at Ain't It Cool.com going all the way until the première of the 4th season as a way to share images, news, spoilers, artwork, fan fiction and much more. Please come back often and become part of our community.
Tuesday, April 13, 2010
Lost’s Desmond Talks Love, Fear and Moving Sideways
April 8, 2010
Call him what you will — The Package, electromagnetic superhero or, simply, Desmond — but Lost’s dashing romantic, played by Henry Ian Cusick, seems to be the key to unlocking some of the drama’s greatest mysteries. In Tuesday’s episode, he could glimpse images from his Island life while occupying the Sideways world, proving that there’s a vital connection between the two, one that will drive the series home to its final episode on May 23. PEOPLE checked in with Cusick on whether Desmond and true love Penny deserve a happily ever after, how he (accidentally!) gave co-star Michael Emerson a black eye, and why he hopes there’s life beyond Lost. – Shawna Malcom
It seems up to Desmond to open the eyes of the other Oceanic 815 passengers about the two worlds, the way Charlie [Dominic Monaghan] did for him.
Totally. I think anyone who doubted the Sideways, or thought they were just filler — now you fundamentally know that the Sideways world is so important to the outcome of the Island world. They say we’re driven by two emotions, love and fear, and Desmond is so driven now by love, which is the one we all want to be driven by. What’s interesting, as you’ll see later on this season, is that some people will do good things for love and some will do bad.
In the episode, Desmond starts off angry, and even violent, but by the end, he’s determined to stay and help his father-in-law, whom he previously couldn’t stand.
I actually had a little bit of a problem with that. I had to speak to [executive producers] Carlton [Cuse] and Damon [Lindelof] because I didn’t get it. They said, ‘Think enlightened.’ But I needed something else so they explained to me that Desmond, now having had a glimpse of the Sideways world, is crystal clear on what he has to do.
So why on earth is he going off with Sayid, who seems to be on the opposing team?
Because he’s not scared. He has no fear in him [anymore]. Nothing is going to disturb him from [his mission] from here on in.
Will Desmond and Penny get their happy ending?
There’s still a chance. But if he doesn’t end up with Penny, I’m cool with that. The fans will want some resolution but I’m just going with it.
When you first joined the show in 2005, did you think he’d become so important?
No. I signed up for three episodes! But he’s come a long way.
Why do you think he’s become such a fan favorite?
He’s a pretty average guy who’s been put in these incredible circumstances, and he just tries to do his best. I think audiences get that and relate to that.
You’re currently shooting the finale. What can you reveal about it?
I don’t think anyone has a complete script. Security is tight and [producers] are keeping the final chapter under wraps. The whole last act is missing! And you definitely need the missing pages because, even up to what I’ve read, it’s still not resolved.
Recently, there have been reports of actors being injured on set. Has filming really gotten that intense?
Michael’s black eye, I must confess, was because of me. We’d already shot [a scene] from many angles, and there was just a lack of concentration on my part and I caught him with my fist. Michael’s been very good–I don’t think he’s told many people that it was me who hit him, but I’ll come clean and say it was. I apologized profusely, and he said, “Don’t even go there. It was just an accident.” But I was like, “Oh my God!”
What has being a part of Lost meant to you?
It’s probably been one of the most important, fulfilling jobs I’ve ever had. Certainly the longest. It’s been a beautiful experience, not only getting to be on a show like this but living in Hawaii and being able to bring my family here. I have three boys [with wife Annie], and we’re still gonna live in Hawaii [after the show ends]. My children are very happy at school and there’s no reason to leave right now.
What would you like to do next?
It’s going to be hard because it has to be something that equals or tops Lost. We’ve been spoiled. I do wonder how this show will affect our careers. Will it help or hinder us? I hope I’m not known as ‘Desmond from Lost’ for the rest of my career. I’m looking forward to other challenges, even as I’m sad to leave this one behind.
http://tvwatch.people.com/2010/04/08/losts-desmond-talks-love-fear-and-moving-sideways/
Call him what you will — The Package, electromagnetic superhero or, simply, Desmond — but Lost’s dashing romantic, played by Henry Ian Cusick, seems to be the key to unlocking some of the drama’s greatest mysteries. In Tuesday’s episode, he could glimpse images from his Island life while occupying the Sideways world, proving that there’s a vital connection between the two, one that will drive the series home to its final episode on May 23. PEOPLE checked in with Cusick on whether Desmond and true love Penny deserve a happily ever after, how he (accidentally!) gave co-star Michael Emerson a black eye, and why he hopes there’s life beyond Lost. – Shawna Malcom
It seems up to Desmond to open the eyes of the other Oceanic 815 passengers about the two worlds, the way Charlie [Dominic Monaghan] did for him.
Totally. I think anyone who doubted the Sideways, or thought they were just filler — now you fundamentally know that the Sideways world is so important to the outcome of the Island world. They say we’re driven by two emotions, love and fear, and Desmond is so driven now by love, which is the one we all want to be driven by. What’s interesting, as you’ll see later on this season, is that some people will do good things for love and some will do bad.
In the episode, Desmond starts off angry, and even violent, but by the end, he’s determined to stay and help his father-in-law, whom he previously couldn’t stand.
I actually had a little bit of a problem with that. I had to speak to [executive producers] Carlton [Cuse] and Damon [Lindelof] because I didn’t get it. They said, ‘Think enlightened.’ But I needed something else so they explained to me that Desmond, now having had a glimpse of the Sideways world, is crystal clear on what he has to do.
So why on earth is he going off with Sayid, who seems to be on the opposing team?
Because he’s not scared. He has no fear in him [anymore]. Nothing is going to disturb him from [his mission] from here on in.
Will Desmond and Penny get their happy ending?
There’s still a chance. But if he doesn’t end up with Penny, I’m cool with that. The fans will want some resolution but I’m just going with it.
When you first joined the show in 2005, did you think he’d become so important?
No. I signed up for three episodes! But he’s come a long way.
Why do you think he’s become such a fan favorite?
He’s a pretty average guy who’s been put in these incredible circumstances, and he just tries to do his best. I think audiences get that and relate to that.
You’re currently shooting the finale. What can you reveal about it?
I don’t think anyone has a complete script. Security is tight and [producers] are keeping the final chapter under wraps. The whole last act is missing! And you definitely need the missing pages because, even up to what I’ve read, it’s still not resolved.
Recently, there have been reports of actors being injured on set. Has filming really gotten that intense?
Michael’s black eye, I must confess, was because of me. We’d already shot [a scene] from many angles, and there was just a lack of concentration on my part and I caught him with my fist. Michael’s been very good–I don’t think he’s told many people that it was me who hit him, but I’ll come clean and say it was. I apologized profusely, and he said, “Don’t even go there. It was just an accident.” But I was like, “Oh my God!”
What has being a part of Lost meant to you?
It’s probably been one of the most important, fulfilling jobs I’ve ever had. Certainly the longest. It’s been a beautiful experience, not only getting to be on a show like this but living in Hawaii and being able to bring my family here. I have three boys [with wife Annie], and we’re still gonna live in Hawaii [after the show ends]. My children are very happy at school and there’s no reason to leave right now.
What would you like to do next?
It’s going to be hard because it has to be something that equals or tops Lost. We’ve been spoiled. I do wonder how this show will affect our careers. Will it help or hinder us? I hope I’m not known as ‘Desmond from Lost’ for the rest of my career. I’m looking forward to other challenges, even as I’m sad to leave this one behind.
http://tvwatch.people.com/2010/04/08/losts-desmond-talks-love-fear-and-moving-sideways/
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Saturday, April 10, 2010
Room 23 Forums
This is actually something that I've been wanting to do for quite sometime now. I figure that the Ain't It Cool Series Finale Talkback will only go for so long before it dies the white screen death and with all of the trolls there I just figured that I would create a forum where people could go to just discuss Lost or anything else without fear of being talked down to. Plus you can edit your posts and upload images and videos.
Thursday, April 8, 2010
'Lost' recap: The End Begins Now
Desmond's big showcase -- and the season's best episode -- launches 'Lost' into its endgame
By Jeff Jensen Apr 07, 2010
OH, THE HUME-ANITY Sideways Desmond and Island Desmond are starting to put things together.
''NOT PENNY'S BOAT.'' They might be the most chilling words in all of Lost lore. (Runner-up: ''We're going to have to take the boy.'' — Mr. Friendly, season 1.) When we first saw them penned in black marker on the palm of Charlie Pace's hand in the finale of season 3, they expressed a heartbreaking discovery. Desmond Hume's vision of escape, reunion with loved ones, and happily ever after for all the castaways was a lie at worst, plain wrong at best. Last night, a different Desmond plunged into the oceanic depths and read a different Charlie's palm. He saw nothing at first — and then he saw everything. In a flash, Sideways Desmond Hume forged a link with his Island world doppelganger and downloaded his memory of ''NOT PENNY'S BOAT.'' Yet what was a dispiriting moment for Island Desmond was full of spirit for Sideways Desmond. For him, ''NOT PENNY'S BOAT'' was a call to hope; a call to faith; a call to something more hopeful than the lonely island of himself. In the gloomy shadows of a watery underworld, the Scotsman with the famous philosopher's name found enlightenment.
And so did we. ''Happily Ever After'' was the episode we've been waiting for all season. At last! Contact! (As in: the Carl Sagan novel and Robert Zemeckis film adaptation.) Finally! Connection between the Island world and the Sideways world — a close encounter of the Sliding Doors kind. The moment came in ingeniously unexpected form — an ironic reprise of Charlie's unforgettable sacrificial death inside the Looking Glass. The scene was simultaneously unsettling and exhilarating, and next to Jacob's allegory of the wine bottle, it stands as the most significant moment of season 6 so far. For Sideways skeptics, I'm guessing the episode either won you over or scared you away for good. Let me more provocative: If you've been a Sideways hater, and you remain one after last night's episode, you may as well call it a wrap on your Lost interest and skip ahead to the rest of your post-Lost life.
For the rest of us, I'm guessing ''Happily Ever After'' moves into the arena where Best Ever Episodes are debated. It was a revelatory episode about the theme of revelation. It was an episode that played like an allegory for spiritual conversion, yet contained a subversive critique of religious experience. (Not that those points need to be mutually exclusive.) I thrilled to see old friends again, including Daniel Fara — err, I mean, Daniel Widmore, Eloise Hawking (sporting a poofy cloud of parachute-ball hair and a new symbolically loaded brooch), Charlie Pace, and the woman we knew once as Penelope Widmore, though I believe I heard her Sideways iteration identified as Penelope Milton. (As in Paradise Lost author-poet John Milton?) ''Happily Ever After'' was an episode that will force us to reconsider much of what we've seen in the Sideways world to date while also directing our attention to the end game of the show, which appears to be some kind of psychic exodus out of Island captivity into the quasi-Canaan of Sidewaysabad. Which souls will make the transmigration? Can some decline the opportunity? Indeed, the most intriguing possibility to come out of ''Happily Ever After'' — just a smidge more intriguing that the possibility that Charles Widmore could actually be a good guy — is that the castaways might actually have a choice between happily ever afters. Wow. See, Juliet? Free will does exist on The Island, after all!
This Island Earth!
Overture for the Overman
The opening eye. An iconic Lost motif, metaphor for epiphany, enlightenment, spiritual awakening, and the restorative power of... uhh... blinking? So many episodes have conspicuously doted on an eye pop, and typically when we get one, the sleeper awakens on his own. This wasn't that kind of eye pop story. As the episode began, we watched Desmond's lashes flutter as he slowly emerged from drugged slumber. We saw the camera pull back from Desmond's pupils to Zoe's fingers rubbing the feeder switch on his IV. Zoe: Greek for ''life.'' So began a story about characters helping other characters awaken with new life and see reality from a new perspective. SPECIAL LIMITED TIME OFFER! Construct your own crazy Doc Jensen Lost theory with my new ''Doc Jensen At Home Theory Making Kit!'' Just send me $299.99 and I'll send you a notepad, a pencil, a list of Wikipedia links, and a copy of Richard Linklater's 2001 movie Waking Life. Compare Desmond's Sideways journey in ''Happily Ever After'' to the Dazed and Confused director's acclaimed trippy semi-animated navel gazer. Bonus points if your 4000 word essay includes references to the film criticism of Andre Bazin, the revolutionary politics of Situationist International, and the book The Society of the Spectacle. Order your kit today!
Desmond tried his best to shake off the grog of his bad trip. He had been kept sedated during his submarine transit to The Island, perhaps because of the injuries sustained from Ben's gunshot wound (see: season 5, ''Dead Is Dead''), perhaps because Island commuters are best kept unconscious when they pass through the brain-scrambling temporal anomaly surrounding The Island (see: season 4, ''The Constant''), probably both. He began to get his bearings. He was inside the Hydra Station. He saw Charles Widmore. ''You?!'' Translation: My dastardly billionaire father-in-law! He who once denied me a job and deemed me unworthy of his expensive Scotch! I hate this guy! Desmond felt discombobulated. He needed grounding. He needed his constant. He needed his wife. ''Pennay!'' he called. (Penne?) (Mmmmm. Pastaaa....) Widmore replied: She's not here. Charles — whose tone couldn't have been more hospitable for a kidnapper — told Desmond he had brought him to The Island. Desmond — who last season vowed never to return his former existential prison — could barely suppress the snarl that wanted to curl his upper lip. Before Charles could finish his attempt at apologetically explaining himself, Desmond began beating Widmore's head with his IV stand. Desmond was restrained. Widmore mopped his bloodied brow and huffed: ''I can't take you back! The Island isn't done with you yet!'' It was the tone of a frustrated parent trying to talk some this is good for you so stop fighting me on this, dammit! sense into a stubborn, impudent child. And it was the same line that Ms. Hawking had told Desmond after he refused to take part in her Ajira 316 plan. Where was Island-world Ms. Hawking? We were not told.
Widmore then ordered his minions to prepare Desmond for ''the test.'' Zoe objected. ''The test'' was supposed to take place the next day. Interesting. It's clear that Widmore came to The Island with a timetable for how and when stuff should be going down. But for the second time in as many episodes, Team Widmore conspicuously went off-script. Last week, it was Zoe abducting Jin a couple days early, incurring Widmore's anger. Last night, it was Widmore caving to impatience and getting guff from Zoe. (The intrigue over the proper or expected timing of events was mirrored in the episode's Sideways storyline; more on that in a minute.) I'm wondering if these improvised decisions and seemingly rash actions will make a difference in the end — if Team Widmore's lack of discipline will yield an unintended, perhaps unwanted result.
As all of this family feuding was playing out, Widmore hostage/guest Jin watched and was confused. Why did Widmore kidnap Desmond? How will Desmond help in the war with Fake Locke? Widmore responded: ''It will be easier to show you than to tell you.'' Another thematic flag was planted: persuasion via demonstration and manifestation; via showing, not telling; via something that could pass muster with an empiricist like the one Desmond David Hume was named after. Still, can't the eyes be deceived? Can't the senses be tricked? Can't the mind be duped? The writer of The Society of the Spectacle would say yes. So would any number of cynics about religious experience. Also see: magicians. I was struck by the interaction between Zoe and Jin as walked past Ground Zero for ''The Test,'' a shack of white slats containing two giant donut-shaped woofers that generated a small storm of electromagnetic energy. ''Come on, no time for sight seeing,'' Zoe told Jin as she hustled him past the EM shed, as if not wanting him to inspect her magic cabinet too closely.
But I don't want to mislead you and cultivate mystery where there was none. Widmore's shrieking shack was one bad box. When a geek-goon named Simmons was sent in to check out a faulty thingamajigger, and when another dude inside mission control flipped on the power without checking to see if Simmons had gotten out first, Simmons got scorched. Poor Simmons! Stupid Widmore geek-goons! Seriously, Charles: where the hell do you find your help, anyway? Caesar Romero's Joker had more competent lackeys on the old Adam West/Batman TV series. EXTRA CREDIT! The Simmons Theory Challenge! Did you think Simmons referred to: A. John Simmons, noted philosophy professor and author of such pieces as The Lockean Theory of Rights and On The Edge of Anarchy, or B. the character Simmons from Red vs. Blue, the sci-fi animated series with Lost-esque themes and tropes (long con conflict, existentialism, ghosts, disembodied minds and spirits, electromagnetic hoo-ha) set within the world of the Halo videogame series?
Widmore had Desmond placed inside the quantum sweat lodge. The geek-goons strapped Desmond into a chair. The chair reminded me of Jacob's chair in Jacob's cabin. Then Desmond shattered the chair to pieces like it was made of matchsticks, thus dashing my hope we were about to get some kind of explanation for the ''Help me...'' apparition that Locke saw in Jacob's cabin. Here's my take on what happened next. Widmore explained that Desmond ''is the only man I know who has survived a catastrophic electromagnetic event.'' (He was referring the implosion of the Hatch at the end of season 2 — the one that sent Desmond's consciousness back in time and where he first encountered all-knowing Ms. Hawking.) Widmore told Desmond that once the test was over, he would then ask his beleaguered son-in-law to make an unspecified sacrifice. ''And I hope for all our sakes, you'll help me,'' said Widmore, sounding like a president trying to sell a tax hike for the sake of the greater good. Desmond scoffed at Widmore's talk of ''sacrifice.'' What did this fat cat control freak know about sacrifice? Widmore's answer: A lot. For all his material wealth, Widmore presented himself as man who had been denied — or had to give up — the ''things'' which were most important to him, that defined life for him: his family. His son, Daniel, had died on The Island. Penelope hated him, as did his wife, Eloise. He had never met his grandson. Widmore presented his losses and lost relationships as sacrifices, and he explained that unless Desmond followed through on his Island destiny, those sacrifices — and much more — would have been for nothing. Unless Desmond helped him, ''Penny, your son, and everyone else will be done. Forever.''
Widmore sure painted himself out to be the Professor Snape of Lost — the secret savior disguised as a bad guy. Did you buy it? Also: I wasn't sure if Widmore's words and deeds indicated that he was aware of the Sideways world and testing for it, or if he's oblivious to the Sideways world and was merely testing Desmond's electro-magnetic fortitude. I'm thinking the latter. What did you think?
Desmond was locked in the EM shed. Shades of his three-year incarceration inside another electromagnetic hotspot, Station 3: The Swan, a.k.a. the Hatch. The good-geeks flipped the switches. Energy flooded the shack. Reality began to warp. Desmond screamed. And then he collapsed. My comic book-soaked brained recalled Watchmen and the story of Jon Osterman, a physicist who was accidentally locked in a room and bombarded with energy that removed the ''intrinsic field'' that held his being together and became unglued... only to reconstruct himself through sheer force of disembodied will into an omniscient, omnipotent Nietzschean Ubermench capable of experiencing past, present and future all at one. He became a superman. Codename: Dr. Manhattan. The problem? He found himself stripped of his humanity, neither needing nor wanting companionship or love. The story of Dr. Manhattan should remind you of the Man In Black, who told us in ''Ab Aeterno'' that his humanity had also been stripped from him, hence his smokey physique. But it should also remind you of Desmond's Sideways story in ''Happily Ever After,'' for it told us the tale of a man considered something of a super-stud by the culture, but suffering from a malaise of emotional detachment. ''Happily Ever After'' broke this Humpty Dumpty apart and put him back together again.
The Sideways World
Master of Two Worlds
''Make no mistake: Your relationships are the heaviest components in your life. All those negotiations and arguments and secrets, the compromises. The slower we move the faster we die. Make no mistake, moving is living. Some animals were meant to carry each other, to live symbiotically over a lifetime. Star crossed lovers, monogamous swans. We are not swans. We are sharks.'' — Ryan Bingham, Up In The Air
We began up in the clouds, soaring through blue heaven. Whose perspective was this? Oceanic 815? Desmond's disembodied mind/soul? The shot bled into the deep blue the Oceanic Airlines logo behind the glass of a video screen showing arrivals and departures of inbound and outbound consciousness — err, I mean flights. We saw Desmond's reflection in the glass. We saw Desmond looking at Desmond's reflection in the glass. The succession of these carefully selected images struck me as a pretty clear attempt to evoke Sigmund Freud's critique of spiritual/religious experience as an ''Oceanic feeling'' of eternity and limitlessness. Freud considered religion an illusion — an outgrowth of the Oedipus complex to help us cope with helplessness, the fear of death, and yearning for re-connection to father figures. Oh, and while it's on my mind: Hope you had a happy Easter and Passover, devoutly religious readers!
Hurley whisked past Desmond and saw him looking lost and gave him direction on where he could pick up his baggage. Desmond graciously accepted Hurley's help and immediately paid it forward by helping Claire by pulling her suitcase of off the carousel. (That stuffed Shamu! So heavy!) Desmond eyeballed her Aaron-swollen belly. Warm and pervy Freudian fuzzies filled him up. He smiled. He inquired about the gender, then immediately felt bashful for prying. Claire didn't mind. She also told him she didn't know the sex of her baby. (And yet in a traumatic moment during ''What Kate Does,'' we heard Claire declare that her son's name was Aaron. More on the significance of this discrepancy later.) Desmond said he'd totally want to know if he was pregnant. He said, ''I don't like surprises.'' Which is what Fake Locke told Sawyer last week, explaining his decision to send Sayid to find out who was hiding behind Widmore's locked door No. 1. It wasn't the only time Desmond would be given a line previously uttered by one of The Island's two god-like power players. Desmond asked her if he could give her a lift somewhere. Was he hitting on her? Was he being gallant? Was Lost trying to foreshadow Desmond's role in the endgame, shepherding souls to and fro from the Island and Sideways worlds? Regardless, Claire had her own ride. Desmond parted company by predicting that she was carrying a boy. That Desmond, ever the seer. We were left with the impression of a man who had a soft spot for family, most likely because he himself had a family with Penelope and son Charlie. After all, there had been that wedding band of Desmond's hand in the season premiere when he seated next to Jack on the plane, reading Haroun and the Sea of Stories....
Wrong. Desmond was met at the airport by a chauffer named George, played by Fisher Stevens, who in season 4 played a character named George Minkowski, radio operator on the freighter. He died in Desmond's arms, a victim of time travel sickness; his mind had come unstuck in time and yo-yo'd between periods until his brain became mush. Sideways George was an operator, too — a valet of vice, clad in sinister black. What's your heart's desire? He can fetch it for you. Perhaps George stands as an analog for Smokey during better days on The Island; perhaps once, Smokey functioned as Jacob's right-hand bagman. Little Georgie Screwtape offered to score chicks, restaurant reservations, any manner of earthly delights for Bachelor Desmond. That's right: Sideways Desmond wasn't married. Where did the wedding band go? Again: a theory to come. For now, let's note how Desmond shut down his devilish driver's pimping. ''I'm not looking for any companionship,'' Desmond said. ''I'm here to work.'' And so Sideways Desmond revealed himself to be the opposite of Island Desmond, a vagabond whose identity was defined by relationships, not employment — by who he loved, not what he did.
A few additional thoughts about George. I don't begrudge the casting, but I do wonder if the Sideways edition of Lance Reddick's Matthew Abbaddon would have been a better choice to play Desmond's driver. Also, back in season 4, George Minkowski was pretty consistently referred to as ''Minkowski,'' while in ''Happily Ever After'' he was exclusively referred to as ''George.'' Minkowski, a reference to physicist Hermann Minkowski, was a definitely a good name for an era of Lost that was keenly interested in quantum physics and spacetime. But given how much George emphasized his role as Desmond's personal Santa Claus, I wonder if Lost was repositioning George as a reference to George Santayana, famous for a saying that now looms large here in season 6: ''Those who cannot remember the past are condemned to repeat it.'' Santayana's major philosophical work was The Life of Reason, which explored the ''phases of human progress'' in various arenas. Santayana took as his project an attempt to find a way to motivate people to virtue ''without the stimulus of supernatural hopes and fears.'' Apparently, he didn't feel he succeeded. But he did place his faith that men might be motivated to selflessness by love and family. Which was exactly the theme ''Happily Ever After'' took for itself, too.
Desmond's romantic transformation began at the office. His boss: Charles Widmore. Unlike Island Des and Island Chuck, this Sideways pair enjoyed a close relationship. Desmond worked as Widmore's all-purpose utility fielder, the Mr. Fix-It who had just spent time down under negotiating a contract — again, a coy analog to current intrigue on Wormhole Island, where Desmond has been cast as the killer app in Widmore's morally ambiguous machinations. Whereas Island Widmore in seasons past made Island Desmond feel like a waste of life, unworthy of both his daughter and his MacCutcheon scotch, Sideways Widmore made Sideways Desmond feel like the son he wanted as opposed to the artsy-fartsy musician one that he had. Sideways Widmore had everything Island Widmore had to sacrifice and now yearns for — i.e., an intact if dysfunctional family. Yet this Widmore yearned to have Desmond's Up In The Air life — relationally liberated, unburdened by familial responsibilities, ''free of attachments.'' Desmond didn't share his employer's enthusiasm for his own life, but he didn't really know what was so dissatisfying about it, either. His long, lingering gazes at Claire's belly and Widmore's model sailboat spoke to his missing pieces and yearnings, but he clacked the self-awareness to understand them and the language to describe them. That would change.
Boss Chuck had a new problem for his Mr. Fix-It to solve. His willful wife was staging a charity events. His artsy-fartsy musician son wanted to perform at the gala with the band Drive Shaft — an attempt to blend ''classical music with modern rock,'' Widmore said with a roll of eyes. It was a clue, I think, to where we're headed with the interchange between Island and Sideways worlds. I don't think it'll be a matter of, say, Island Jack's consciousness displacing and replacing Sideways Jack's consciousness, but rather both minds blending to form a unique and stronger new persona. Desmond's job: get Charlie Pace out of jail; get him to the gala; make the willful wife and artsy-fartsy boy happy. Widmore joked that should Desmond fail to get Charlie to party, his wife would ''destroy'' him. That, too, played to me to like a clue — I wonder if the bitter rivalry between Eloise Hawking and Charles Widmore is not yet over.
We should talk about the painting, shouldn't we? On the wall of Widmore's office there was a canvas featuring a balanced scale, one side holding a white rock and the other side holding a black rock. Assuming the painting means something (historically speaking, this has not always been the case), we could interpret it to mean that in the Sideways world, the opposing powers represented by Jacob and the Man In Black are balanced. I might argue that what the scale represents is the tension between the Dionysian and the Apollonian — the timeless conflict between chaos and order, passion and reason. Our aforementioned friend Nietzsche was a big fan of the Apollonian/Dionysian conflict; it formed the crux of The Birth of Tragedy, in which he suggested that effective, inspiring tragedy is one in which the hero of reason struggles to make sense of unreasonable fate — and loses. But in the process of the struggle, he affirms eternal values and stands as an inspiration to others. I would argue ''Happily Ever After'' dramatized this idea by showing how Charlie's seemingly meaningless tragic sacrifice three seasons ago provided an inspiring, redeeming moment for Desmond in the Sideways world. An even more on-the-nose application of the Apollonian/Dionysian concept was last week's controversy over What Keamy Said. Did he really mention The Island to Jin — or was that our mind imposing order on formlessness? If you believe the latter, you are engaging in ''Apollonianism,'' according to linguistics people. (Or so Wikipedia tells me.)
I'll be honest with you: the reason I'm hanging my hat on this Apollonian/Dionysian stuff is to establish a precedent for a claim I will make at a later date that the Sideways world can be explained by Nietzsche's idea of ''eternal recurrence.'' Like I said: a later date. You can't wait, can you?
Desmond didn't have to work too hard to get Charlie out of jail. The pasty English rocker was walking out of the clink just as Desmond was arriving. Charlie then kept walking right into the street, oblivious or ambivalent or indifferent to the cars screeching to a half to avoid mowing him down a la Nadia or Juliet's husband. Desmond was baffled. He watched Charlie head into a bar called Jax, an Outback-themed pub with a kangaroo mascot. Lost = Kangaroo Jack? Debate. (I could make a FlashForward joke here, too. But I'm tired.)
Desmond and Charlie drank. The moment evoked the season 3 episode ''Flashes Before Your Eyes,'' when Desmond and Charlie forged their tragic rapport during an acrimonious night of drinking scotch. The Jax conversation began with personal fulfillment. Charlie: ''Are you happy?'' Desmond said he had a great job, had lots of money, and traveled a lot. ''Why wouldn't I be happy?'' Desmond was representative of a definition of happiness rooted almost exclusively in material reality. Charlie had a different definition. ''Have you ever been in love?'' Desmond: ''Thousands of times.'' Again: materialism. And… Man-Whore! ''That's not what I'm talking about,'' the rock star replied. ''I'm talking about spectacular, consciousness-altering love. Do you know what that looks like?'' Again, the thematic of show-and-tell proofing reared its head. Desmond laughed. ''I wasn't aware that love looked like anything.'' Charlie begged to differ; he claimed to have had a vision of love on the plane back from Australia. Desmond — who clearly didn't believe in his own shallow philosophy; who clearly yearned for something more — asked Charlie to explain. ''Enlighten me,'' he said.
What followed was an allegory for religious experience that leaves the zealots of reason and the zealots of faith bitterly divided: the validity of subjective reality. Charlie revealed that contrary to what we may have though, he did not try to commit suicide by ODing on the plane. Instead, Charlie got spooked when he saw U.S. marshal Edward Mars giving him the suspicious once-over and so he decided to get rid of his bag of horse by swallowing it before he could get busted. But then Oceanic 815 hit turbulence and Charlie choked on the drugs and lapsed into unconsciousness/near death. As his life ebbed away, Charlie had a vision. ''A woman. Blonde. Rapturously beautiful. And I know her. We're together. It's like we always will be. This feeling. This love. And just as I'm about to be engulfed by it…'' Charlie went to explain that party-poopers Jack Shepard and Sayid busted in to save his life.
Many of you are placing bets on who Charlie's dream girl could be. I'm guessing most people will be saying Claire. My pick is more cynical. If Sideways Charlie was truly tapping the memories of his dead Island counterpart, then I say the rapturous blonde beauty he beheld was his season 2 Island temptress: the heroin-stuffed Virgin Mary statues. The painted hair? The color of sunshine. The robes? Sky blue. It just makes sense. Go back and watch Charlie give that speech: he looks stoned out of his mind. Honestly, I'm more inclined to think that Charlie's bathroom epiphany was a hallucination. Further, I'm inclined to think that Lost was again giving subversive voice to a more skeptical, cynical view of religious feeling. I've always felt those drug-stuffed idols were a coded nod to Karl Marx's famous line that ''religion is the opiate of the masses.'' And in my opinion, Charlie's experience of engulfing love sounds more like Freud's theory of ''Oceanic.'' Sorry, Charlie: Your testimony sounds pretty fishy to me. His defense, of course, was the defense of any religious person who has nothing but personal experience to support his faith: ''I've seen something real. I've seen the truth.''
Desmond wasn't buying it. ''That's poetry,'' he cracked about Charlie's story. ''You should write a song about it.'' Actually, in another life, Charlie did write an ode to redeeming love: ''Saved,'' the song Island Charlie wrote in his last-gasp bid to save Drive Shaft from disintegration. The season 2 Charlie-centric episode ''Fire + Water'' — memorable for its surreal, religiously-charged dream sequence (Hurley as Jesus; Claire as the Virgin Mary) and the ''You All Every Butties'' diaper commercial — gave us this bit of lyrics: ''All alone, I try to be invincible/Together now, we can be saved.'' Regardless, Desmond got in his face and pulled a Jacob/Man In Black: he impressed upon Charlie the idea of free will and then presented him two choices. He could drink his musical career away, or he could do Widmore a solid and earn a favor from him in return. Charlie's response: ''That doesn't seem like a choice.'' But he chose the Widmore option, anyway…
Or he seemed to. In the car, Drive Shaft's ''You All Everybody'' came on the radio. Charlie asked Desmond if he liked it. Desmond said yes… ''for what it is.'' Charlie was stung. He again attacked Desmond's empty definition of fulfillment. An detached, dispassionate Desmond cracked sarcastic: ''Why? Because none of it is real?'' It was a tired, unthinking retort, and it inspired Charlie to play a game, not unlike The Game, the David Fincher film about a spiritual sleepwalker (Michael Douglas) who finds himself involved in a deadly alternate-reality game designed to shock him into self-awareness... or kill him. Charlie offered Desmond a choice: he could have a chance at the kind of epiphany Charlie had on the plane, or he could get out of the car. Desmond made it clear he wasn't getting out of the car — and so Charlie grabbed the steering wheel and sent the car off a pier and into the L.A. Harbor. Call it Carjacking as Spiritual Course Correction. (I suppose Desmond could have just stepped on the brake, but that would have gotten in the way of a cool moment.) Desmond's car capsized and sank. The interior filled with water. Desmond freed himself from his seatbelt and swam to the surface, then took a deep breath and dived back down to rescue Charlie, á la his Looking Glass rescue mission in season 3. Desmond tried to open the door. It wouldn't budge. He kept trying. And that's when something weird happened. It was as if some supernatural force — angelic? demonic? Jacobesque? Smokeyesque? — took possession of Charlie's body or manipulated him like a puppet on a string and turned him in his chair and slapped his palm against the window. Desmond saw the pose, then flashed on the memory of ''NOT PENNY'S BOAT.'' The sound dropped out of the scene — one of two brilliant uses of silence in the episode — and Desmond was left staggered. He recovered, then managed to haul Charlie out of the car.
Desmond and Charlie went to the hospital. Desmond thoughtfully considered the possibility he had hallucinated the flash for all of 5 seconds, then wanted to collect his troublesome Charlie package and split. The doctors said: Nope. The doctors said: We need an MRI of your brain to make sure you're not broken in the head. Desmond was set up with a panic button — a new version of his Hatch button — and rolled into yet another version of his Hatch prison. It was as if the more the MRI machine pelted his brain with energy, the more it was breaking down the psychic wall separating his Sideways self from his Island self. As it did, memories of Penny and Baby Charlie — Island Desmond's family — flooded his mind. It was wonderful. It was terrifying. It was too much, too soon. Desmond hit the panic button. He wanted out. He wanted answers. He wanted Charlie. He found him trying to make an escape from the hospital. Desmond accused Madman Charlie of trying to kill him with the car stunt. Like any self-righteous would-be prophet, Charlie responded: ''I wasn't trying to kill you. I was trying to help you.'' Desmond asked him if he knew a ''Penny.'' Charlie didn't. But he realized that Desmond had the Road to Damascus moment he tried to facilitate for him. Desmond tried to get Charlie to fulfill his obligation to play at Hawking's charity event, but Charlie reminded Desmond that a born again life demands a new way of living. ''I can't go play a rock concert after this! This doesn't matter! None of this matters! All that matters is that we felt it. … If I were you, I'd stop worrying about me and start looking for Penny.'' And with that, Charlie was gone.
Desmond broke the news to Widmore that he had lost Charlie. Pissed, Widmore broke the news to Des that he'd have to go break the news to ball-busting Eloise Hawking in person. George was worried for Desmond, too. ''So you never met the boss' wife? Good luck.'' Yet to Desmond's surprise, Eloise Hawking and her shocking white hair took the news of Charlie's disappearance well. ''Don't worry about it,'' she said. ''What happened, happened.'' End of story, really — until Desmond heard that ''Milton, Penelope (solo)'' was on the guest list for the party. Desmond inquired. Eloise flipped. The two squabbled, and then Eloise sighed and demanded that he join her for a private conference out of earshot of either the hired help, or the quirky young man playing piano whose identity was impossible to disguise. Indeed, I got the sense that Eloise had no desire to expose her delicate son, Daniel (Faraday) Widmore, to the reality-challenging argument that had to come. Eloise: ''Someone has clearly affected the way you see things. This is a serious problem. It is, in fact, a violation.'' Eloise definitely seemed to understand the origin, purpose, and more importantly the rules of the Sideways world. She also seemed to have knowledge or vision for what should be happening and when, and Desmond's search for Penny threatened the implicit order. She scolded him for wanting more than what he always wanted: Charles Widmore's approval.
This landed like a newsflash for Desmond. It surely must have started to bug him that everyone seemed to know him better than he knew himself. ''How do you know what I want?'' he demanded. ''I just bloody do!'' Eloise thundered. Desmond wanted to know: why was he being denied the info he wanted about Penny? ''Because you're not ready yet, Desmond!'' What does he need to be doing to get ready? TBD. But again, we have this idea of plans and schedules being undermined by the variable of human free will.
Desmond was defeated. He piled into his black limo. Then, Daniel Widmore came knocking on his window. He told Desmond a wild story about one day laying eyes on a chocolate bar-eating red-headed egghead who worked at a nearby museum. That would be Sideways Charlotte. ''As soon as I saw her, right in that moment, it was like I already loved her. And that's when things got weird.'' On the night of his first visual contact, Widmore began scribbling equations into notebook — sophisticated quantum mechanics stuff about ''real space'' and ''imaginary time.'' (Stephen Hawking popularized the concept of ''imaginary time.'' ''One might think this means that imaginary numbers are just a mathematical game having nothing to do with the real world. From the viewpoint of positivist philosophy, however, one cannot determine what is real. All one can do is find which mathematical models describe the universe we live in. It turns out that a mathematical model involving imaginary time predicts not only effects we have already observed but also effects we have not been able to measure yet nevertheless believe in for other reasons. So what is real and what is imaginary? Is the distinction just in our minds?'')
What does that mean? ''I'm a musician. I have no idea.'' I laughed. Dear lord, it was great seeing He Shall Always Be Faraday To Me again. But Daniel knew a math whiz at Cal Tech, and after their consult, Dan had come up with what sounded to me like... a Lost theory! His speculation: he and Desmond and many others are not living the lives they're supposed to be leading — a consequence, he believed, of creating a new reality by detonating a nuclear bomb. ''I don't want to set off a nuclear bomb, Mr. Hume,'' Daniel said. ''I think I already did.'' (Wow! Good guesses, Mr. I'm Just A Musician!) I was reminded of what Young Daniel Faraday told his mother in the episode entitled ''The Variable'' when she informed him that she wanted him to stop studying piano and start focusing his genius on physics. He could do both, he insisted. ''I can make time,'' he said. Eloise sighed. ''If only you could,'' she said. And it sounds like he did — if you believe Dan's Lost theory. Do you?
Desmond told Dan about his vision of love. Dan told him to trust the feelings that came with it as real. Desmond said his ''Penny'' was no more than an idea. ''No,'' she said Dan, ''she's my half-sister.'' Daniel directed Desmond to a local stadium where Penelope was running stairs — a nice twist on the Jack-meets-Desmond scene in the season 2 premiere, ''Man of Science, Man of Faith.'' Desmond saw Penny. WHAM! Arrow to the heart, thunderbolt to the head — dream-come-true/love at first sight. Desmond approached Penelope. This should have freaked her out. Here she was, attractive young female alone in a huge stadium, being approached by a leering, moony-eyed though very handsome man. In most any other story, her intuition should have said: ''Ted Bundy?'' Instead, Penelope seemed genuinely intrigued and attracted to the cute guy who couldn't take his eyes off her and wanted to take her hand and shake it. ''I'm Desmond,'' he said. ''I'm Penelope,'' she said. Their hands touched —
And in a breathtaking segue, quick and silent, we were back on The Island, with Desmond flat on his back, waking up for the second time in 20 minutes in a place he thought he didn't want to be. But a lot can change in 20 minutes...
The Desmond who awoke in Widmore's shrieking shack was markedly different than the one who collapsed amid a storm of electromagnetic energy. He seemed happier, lighter, and certainly more tender toward Widmore. Indicative of the thaw in their relationship: Desmond reached out to Widmore and asked for his assistance in helping him to his feet. Desmond practically radiated affection — the prodigal son, returning home to the father that he thought he hated but didn't. Again, Widmore's reaction was inscrutable. I couldn't tell if he was expecting this shift in Desmond, but he certainly welcomed it. ''It's all right. I understand. You told me you brought me to The Island to do something really important. When do we start?''
Then again… is it possible that Desmond was conning Widmore?
Zoe and some geek-goons escorted Desmond back to Hydra Station proper. Zoe was at a loss for what exactly happened in Widmore's magical conversion cabinet. ''That thing fried your brain,'' Zoe said. Desmond smirked. ''Did it?'' Then: Sayid attack. He broke some necks, then pulled a gun on Zoe. ''Run,'' he said. She ran. Awesome. Then, the hilarious irony of killer Sayid saying, ''Desmond, I don't have time to explain but these people are extremely dangerous.'' After I got done laughing, I thought: Wait — are they dangerous? To date, we have not seen Team Widmore kill one person. Yes, there was that guy that got microwaved in the EM shed, but really: Nobody's weeping for Simmons. And yes, there was a pile of dead bodies that Sawyer found on Hydra — but I'm pretty convinced that was Smokey's doing. So I'm thinking Sayid killed some eggheads for nothing. Par for the course for the easily manipulated redemption-starved assassin.
But Desmond didn't seem to mind being abducted by Sayid — mostly because I don't think it really affects the mission he has now given himself. In fact, hooking up with Sayid might actually expedite his mission.
We got a sense of what that mission might be when the story toggled back for a coda in the Sideways world. We saw that Desmond had fainted upon shaking Penelope's hand. ''I must have quite an effect on you,'' Penelope said, who suddenly felt a stir of déjà vu herself. ''Have we met before?'' Desmond asked her out for coffee. She should have said no. But she said yes. And we bought it, because frankly, the chemistry between Henry Ian Cusick and Sonya Walger is so damn irresistible. In the limo en route to his date with destiny, George asked Desmond if he needed anything else. He did. Desmond wanted the names of all the passengers aboard Oceanic 815. George asked: ''Why?'' Desmond's response was the response of any born again believer whose soul has saved by the Good News of eternity: He wanted to share it with his friends. ''I just need to show them something,'' he said, and suddenly his face took on an otherworldly glow. I couldn't tell if it was the glow of enlightenment or madness, Apollo or Dionysus, or both. Regardless, I think the great work that lies ahead for Desmond will require sacrifice, as Widmore indicated, because Desmond has the most to lose. By choosing to help Widmore and his friends in whatever capacity that is required — fighting Smokey; shepherding souls — it will mean giving up the life he fought so hard to attain in the Island world. His one consolation will be that he's seemingly assured a second chance at the same happiness in the Sideways world. His sacrifice, then, can be summed up in this exchange of dialogue from Contact:
Palmer Joss: By doing this, you're willing to give your life, you're willing to die for it. Why?
Ellie Arroway: For as long as I can remember, I've been searching for something, some reason why we're here. What are we doing here? Who are we? If this is a chance to find out even just a little part of that answer... I don't know, I think it's worth a human life. Don't you?
Additional conclusions:
First, it seems that trauma is capable of punching a hole between worlds. In the same way Desmond broke on through to the other side during the panic of his underwater crisis with Charlie, I think we can also conclude that Sideways Claire pulled Aaron's name from the memory of her mirror twin during her delivery scare in the hospital with Kate.
Second, there's the matter of Desmond's wedding ring. I think we could be looking at a situation where the migration of consciousness from Island world to Sideways world is more than just a mind-swap. I think the combining of lives and minds and histories could create whole new people, reboots of individual timelines. Perhaps this process is volatile and ongoing. The mystery of Desmond's peekaboo wedding ring? Perhaps his ''story'' was in flux or even remains in flux until the entire matter of castaway transmigration is settled.
Third, Ms. Hawking's brooch tells us something. In seasons past, she wore a version of an oroboros, with a snake chasing its tail and completing a circuit with its body, but its head remained free, escaping its own loop. I think the old pendant was a metaphor for the creation of the Sideways world. The new pendant? Two parallel lines, each bisected by a star, but at different points. The meaning? I'm still thinking.
Finally, Desmond. I think his job is to pull a John Locke/Jeremy Bentham and offer each castaway a chance to cross over into the Sideways world. I do think that's the direction of movement — Island to Sideways. I think Desmond's ''talent'' is to help each castaways open up a psychic channel for the crossing to occur. That means that Sideways Desmond has to work his people and Island Desmond has to work his people. And I think both iterations of the individual has to agree to create the channel. If Sideways Jack doesn't want to merge with Island Jack, is isn't going to happen.
Another much too long recap, and I'm sure there's much I've neglected. That's why you need to shoot me an email with your questions for my Friday Doc Jensen column. The address: docjensenew@gmail.com. Appreciate the patience in waiting for the recap to post — I now exit quickly so he can get talking... and to avoid your tomatoes.
http://www.ew.com/ew/article/0,,20313460_20358841,00.html?ew_packageID=20313460?xid=email-alert-lost-20100407-item1
By Jeff Jensen Apr 07, 2010
OH, THE HUME-ANITY Sideways Desmond and Island Desmond are starting to put things together.
''NOT PENNY'S BOAT.'' They might be the most chilling words in all of Lost lore. (Runner-up: ''We're going to have to take the boy.'' — Mr. Friendly, season 1.) When we first saw them penned in black marker on the palm of Charlie Pace's hand in the finale of season 3, they expressed a heartbreaking discovery. Desmond Hume's vision of escape, reunion with loved ones, and happily ever after for all the castaways was a lie at worst, plain wrong at best. Last night, a different Desmond plunged into the oceanic depths and read a different Charlie's palm. He saw nothing at first — and then he saw everything. In a flash, Sideways Desmond Hume forged a link with his Island world doppelganger and downloaded his memory of ''NOT PENNY'S BOAT.'' Yet what was a dispiriting moment for Island Desmond was full of spirit for Sideways Desmond. For him, ''NOT PENNY'S BOAT'' was a call to hope; a call to faith; a call to something more hopeful than the lonely island of himself. In the gloomy shadows of a watery underworld, the Scotsman with the famous philosopher's name found enlightenment.
And so did we. ''Happily Ever After'' was the episode we've been waiting for all season. At last! Contact! (As in: the Carl Sagan novel and Robert Zemeckis film adaptation.) Finally! Connection between the Island world and the Sideways world — a close encounter of the Sliding Doors kind. The moment came in ingeniously unexpected form — an ironic reprise of Charlie's unforgettable sacrificial death inside the Looking Glass. The scene was simultaneously unsettling and exhilarating, and next to Jacob's allegory of the wine bottle, it stands as the most significant moment of season 6 so far. For Sideways skeptics, I'm guessing the episode either won you over or scared you away for good. Let me more provocative: If you've been a Sideways hater, and you remain one after last night's episode, you may as well call it a wrap on your Lost interest and skip ahead to the rest of your post-Lost life.
For the rest of us, I'm guessing ''Happily Ever After'' moves into the arena where Best Ever Episodes are debated. It was a revelatory episode about the theme of revelation. It was an episode that played like an allegory for spiritual conversion, yet contained a subversive critique of religious experience. (Not that those points need to be mutually exclusive.) I thrilled to see old friends again, including Daniel Fara — err, I mean, Daniel Widmore, Eloise Hawking (sporting a poofy cloud of parachute-ball hair and a new symbolically loaded brooch), Charlie Pace, and the woman we knew once as Penelope Widmore, though I believe I heard her Sideways iteration identified as Penelope Milton. (As in Paradise Lost author-poet John Milton?) ''Happily Ever After'' was an episode that will force us to reconsider much of what we've seen in the Sideways world to date while also directing our attention to the end game of the show, which appears to be some kind of psychic exodus out of Island captivity into the quasi-Canaan of Sidewaysabad. Which souls will make the transmigration? Can some decline the opportunity? Indeed, the most intriguing possibility to come out of ''Happily Ever After'' — just a smidge more intriguing that the possibility that Charles Widmore could actually be a good guy — is that the castaways might actually have a choice between happily ever afters. Wow. See, Juliet? Free will does exist on The Island, after all!
This Island Earth!
Overture for the Overman
The opening eye. An iconic Lost motif, metaphor for epiphany, enlightenment, spiritual awakening, and the restorative power of... uhh... blinking? So many episodes have conspicuously doted on an eye pop, and typically when we get one, the sleeper awakens on his own. This wasn't that kind of eye pop story. As the episode began, we watched Desmond's lashes flutter as he slowly emerged from drugged slumber. We saw the camera pull back from Desmond's pupils to Zoe's fingers rubbing the feeder switch on his IV. Zoe: Greek for ''life.'' So began a story about characters helping other characters awaken with new life and see reality from a new perspective. SPECIAL LIMITED TIME OFFER! Construct your own crazy Doc Jensen Lost theory with my new ''Doc Jensen At Home Theory Making Kit!'' Just send me $299.99 and I'll send you a notepad, a pencil, a list of Wikipedia links, and a copy of Richard Linklater's 2001 movie Waking Life. Compare Desmond's Sideways journey in ''Happily Ever After'' to the Dazed and Confused director's acclaimed trippy semi-animated navel gazer. Bonus points if your 4000 word essay includes references to the film criticism of Andre Bazin, the revolutionary politics of Situationist International, and the book The Society of the Spectacle. Order your kit today!
Desmond tried his best to shake off the grog of his bad trip. He had been kept sedated during his submarine transit to The Island, perhaps because of the injuries sustained from Ben's gunshot wound (see: season 5, ''Dead Is Dead''), perhaps because Island commuters are best kept unconscious when they pass through the brain-scrambling temporal anomaly surrounding The Island (see: season 4, ''The Constant''), probably both. He began to get his bearings. He was inside the Hydra Station. He saw Charles Widmore. ''You?!'' Translation: My dastardly billionaire father-in-law! He who once denied me a job and deemed me unworthy of his expensive Scotch! I hate this guy! Desmond felt discombobulated. He needed grounding. He needed his constant. He needed his wife. ''Pennay!'' he called. (Penne?) (Mmmmm. Pastaaa....) Widmore replied: She's not here. Charles — whose tone couldn't have been more hospitable for a kidnapper — told Desmond he had brought him to The Island. Desmond — who last season vowed never to return his former existential prison — could barely suppress the snarl that wanted to curl his upper lip. Before Charles could finish his attempt at apologetically explaining himself, Desmond began beating Widmore's head with his IV stand. Desmond was restrained. Widmore mopped his bloodied brow and huffed: ''I can't take you back! The Island isn't done with you yet!'' It was the tone of a frustrated parent trying to talk some this is good for you so stop fighting me on this, dammit! sense into a stubborn, impudent child. And it was the same line that Ms. Hawking had told Desmond after he refused to take part in her Ajira 316 plan. Where was Island-world Ms. Hawking? We were not told.
Widmore then ordered his minions to prepare Desmond for ''the test.'' Zoe objected. ''The test'' was supposed to take place the next day. Interesting. It's clear that Widmore came to The Island with a timetable for how and when stuff should be going down. But for the second time in as many episodes, Team Widmore conspicuously went off-script. Last week, it was Zoe abducting Jin a couple days early, incurring Widmore's anger. Last night, it was Widmore caving to impatience and getting guff from Zoe. (The intrigue over the proper or expected timing of events was mirrored in the episode's Sideways storyline; more on that in a minute.) I'm wondering if these improvised decisions and seemingly rash actions will make a difference in the end — if Team Widmore's lack of discipline will yield an unintended, perhaps unwanted result.
As all of this family feuding was playing out, Widmore hostage/guest Jin watched and was confused. Why did Widmore kidnap Desmond? How will Desmond help in the war with Fake Locke? Widmore responded: ''It will be easier to show you than to tell you.'' Another thematic flag was planted: persuasion via demonstration and manifestation; via showing, not telling; via something that could pass muster with an empiricist like the one Desmond David Hume was named after. Still, can't the eyes be deceived? Can't the senses be tricked? Can't the mind be duped? The writer of The Society of the Spectacle would say yes. So would any number of cynics about religious experience. Also see: magicians. I was struck by the interaction between Zoe and Jin as walked past Ground Zero for ''The Test,'' a shack of white slats containing two giant donut-shaped woofers that generated a small storm of electromagnetic energy. ''Come on, no time for sight seeing,'' Zoe told Jin as she hustled him past the EM shed, as if not wanting him to inspect her magic cabinet too closely.
But I don't want to mislead you and cultivate mystery where there was none. Widmore's shrieking shack was one bad box. When a geek-goon named Simmons was sent in to check out a faulty thingamajigger, and when another dude inside mission control flipped on the power without checking to see if Simmons had gotten out first, Simmons got scorched. Poor Simmons! Stupid Widmore geek-goons! Seriously, Charles: where the hell do you find your help, anyway? Caesar Romero's Joker had more competent lackeys on the old Adam West/Batman TV series. EXTRA CREDIT! The Simmons Theory Challenge! Did you think Simmons referred to: A. John Simmons, noted philosophy professor and author of such pieces as The Lockean Theory of Rights and On The Edge of Anarchy, or B. the character Simmons from Red vs. Blue, the sci-fi animated series with Lost-esque themes and tropes (long con conflict, existentialism, ghosts, disembodied minds and spirits, electromagnetic hoo-ha) set within the world of the Halo videogame series?
Widmore had Desmond placed inside the quantum sweat lodge. The geek-goons strapped Desmond into a chair. The chair reminded me of Jacob's chair in Jacob's cabin. Then Desmond shattered the chair to pieces like it was made of matchsticks, thus dashing my hope we were about to get some kind of explanation for the ''Help me...'' apparition that Locke saw in Jacob's cabin. Here's my take on what happened next. Widmore explained that Desmond ''is the only man I know who has survived a catastrophic electromagnetic event.'' (He was referring the implosion of the Hatch at the end of season 2 — the one that sent Desmond's consciousness back in time and where he first encountered all-knowing Ms. Hawking.) Widmore told Desmond that once the test was over, he would then ask his beleaguered son-in-law to make an unspecified sacrifice. ''And I hope for all our sakes, you'll help me,'' said Widmore, sounding like a president trying to sell a tax hike for the sake of the greater good. Desmond scoffed at Widmore's talk of ''sacrifice.'' What did this fat cat control freak know about sacrifice? Widmore's answer: A lot. For all his material wealth, Widmore presented himself as man who had been denied — or had to give up — the ''things'' which were most important to him, that defined life for him: his family. His son, Daniel, had died on The Island. Penelope hated him, as did his wife, Eloise. He had never met his grandson. Widmore presented his losses and lost relationships as sacrifices, and he explained that unless Desmond followed through on his Island destiny, those sacrifices — and much more — would have been for nothing. Unless Desmond helped him, ''Penny, your son, and everyone else will be done. Forever.''
Widmore sure painted himself out to be the Professor Snape of Lost — the secret savior disguised as a bad guy. Did you buy it? Also: I wasn't sure if Widmore's words and deeds indicated that he was aware of the Sideways world and testing for it, or if he's oblivious to the Sideways world and was merely testing Desmond's electro-magnetic fortitude. I'm thinking the latter. What did you think?
Desmond was locked in the EM shed. Shades of his three-year incarceration inside another electromagnetic hotspot, Station 3: The Swan, a.k.a. the Hatch. The good-geeks flipped the switches. Energy flooded the shack. Reality began to warp. Desmond screamed. And then he collapsed. My comic book-soaked brained recalled Watchmen and the story of Jon Osterman, a physicist who was accidentally locked in a room and bombarded with energy that removed the ''intrinsic field'' that held his being together and became unglued... only to reconstruct himself through sheer force of disembodied will into an omniscient, omnipotent Nietzschean Ubermench capable of experiencing past, present and future all at one. He became a superman. Codename: Dr. Manhattan. The problem? He found himself stripped of his humanity, neither needing nor wanting companionship or love. The story of Dr. Manhattan should remind you of the Man In Black, who told us in ''Ab Aeterno'' that his humanity had also been stripped from him, hence his smokey physique. But it should also remind you of Desmond's Sideways story in ''Happily Ever After,'' for it told us the tale of a man considered something of a super-stud by the culture, but suffering from a malaise of emotional detachment. ''Happily Ever After'' broke this Humpty Dumpty apart and put him back together again.
The Sideways World
Master of Two Worlds
''Make no mistake: Your relationships are the heaviest components in your life. All those negotiations and arguments and secrets, the compromises. The slower we move the faster we die. Make no mistake, moving is living. Some animals were meant to carry each other, to live symbiotically over a lifetime. Star crossed lovers, monogamous swans. We are not swans. We are sharks.'' — Ryan Bingham, Up In The Air
We began up in the clouds, soaring through blue heaven. Whose perspective was this? Oceanic 815? Desmond's disembodied mind/soul? The shot bled into the deep blue the Oceanic Airlines logo behind the glass of a video screen showing arrivals and departures of inbound and outbound consciousness — err, I mean flights. We saw Desmond's reflection in the glass. We saw Desmond looking at Desmond's reflection in the glass. The succession of these carefully selected images struck me as a pretty clear attempt to evoke Sigmund Freud's critique of spiritual/religious experience as an ''Oceanic feeling'' of eternity and limitlessness. Freud considered religion an illusion — an outgrowth of the Oedipus complex to help us cope with helplessness, the fear of death, and yearning for re-connection to father figures. Oh, and while it's on my mind: Hope you had a happy Easter and Passover, devoutly religious readers!
Hurley whisked past Desmond and saw him looking lost and gave him direction on where he could pick up his baggage. Desmond graciously accepted Hurley's help and immediately paid it forward by helping Claire by pulling her suitcase of off the carousel. (That stuffed Shamu! So heavy!) Desmond eyeballed her Aaron-swollen belly. Warm and pervy Freudian fuzzies filled him up. He smiled. He inquired about the gender, then immediately felt bashful for prying. Claire didn't mind. She also told him she didn't know the sex of her baby. (And yet in a traumatic moment during ''What Kate Does,'' we heard Claire declare that her son's name was Aaron. More on the significance of this discrepancy later.) Desmond said he'd totally want to know if he was pregnant. He said, ''I don't like surprises.'' Which is what Fake Locke told Sawyer last week, explaining his decision to send Sayid to find out who was hiding behind Widmore's locked door No. 1. It wasn't the only time Desmond would be given a line previously uttered by one of The Island's two god-like power players. Desmond asked her if he could give her a lift somewhere. Was he hitting on her? Was he being gallant? Was Lost trying to foreshadow Desmond's role in the endgame, shepherding souls to and fro from the Island and Sideways worlds? Regardless, Claire had her own ride. Desmond parted company by predicting that she was carrying a boy. That Desmond, ever the seer. We were left with the impression of a man who had a soft spot for family, most likely because he himself had a family with Penelope and son Charlie. After all, there had been that wedding band of Desmond's hand in the season premiere when he seated next to Jack on the plane, reading Haroun and the Sea of Stories....
Wrong. Desmond was met at the airport by a chauffer named George, played by Fisher Stevens, who in season 4 played a character named George Minkowski, radio operator on the freighter. He died in Desmond's arms, a victim of time travel sickness; his mind had come unstuck in time and yo-yo'd between periods until his brain became mush. Sideways George was an operator, too — a valet of vice, clad in sinister black. What's your heart's desire? He can fetch it for you. Perhaps George stands as an analog for Smokey during better days on The Island; perhaps once, Smokey functioned as Jacob's right-hand bagman. Little Georgie Screwtape offered to score chicks, restaurant reservations, any manner of earthly delights for Bachelor Desmond. That's right: Sideways Desmond wasn't married. Where did the wedding band go? Again: a theory to come. For now, let's note how Desmond shut down his devilish driver's pimping. ''I'm not looking for any companionship,'' Desmond said. ''I'm here to work.'' And so Sideways Desmond revealed himself to be the opposite of Island Desmond, a vagabond whose identity was defined by relationships, not employment — by who he loved, not what he did.
A few additional thoughts about George. I don't begrudge the casting, but I do wonder if the Sideways edition of Lance Reddick's Matthew Abbaddon would have been a better choice to play Desmond's driver. Also, back in season 4, George Minkowski was pretty consistently referred to as ''Minkowski,'' while in ''Happily Ever After'' he was exclusively referred to as ''George.'' Minkowski, a reference to physicist Hermann Minkowski, was a definitely a good name for an era of Lost that was keenly interested in quantum physics and spacetime. But given how much George emphasized his role as Desmond's personal Santa Claus, I wonder if Lost was repositioning George as a reference to George Santayana, famous for a saying that now looms large here in season 6: ''Those who cannot remember the past are condemned to repeat it.'' Santayana's major philosophical work was The Life of Reason, which explored the ''phases of human progress'' in various arenas. Santayana took as his project an attempt to find a way to motivate people to virtue ''without the stimulus of supernatural hopes and fears.'' Apparently, he didn't feel he succeeded. But he did place his faith that men might be motivated to selflessness by love and family. Which was exactly the theme ''Happily Ever After'' took for itself, too.
Desmond's romantic transformation began at the office. His boss: Charles Widmore. Unlike Island Des and Island Chuck, this Sideways pair enjoyed a close relationship. Desmond worked as Widmore's all-purpose utility fielder, the Mr. Fix-It who had just spent time down under negotiating a contract — again, a coy analog to current intrigue on Wormhole Island, where Desmond has been cast as the killer app in Widmore's morally ambiguous machinations. Whereas Island Widmore in seasons past made Island Desmond feel like a waste of life, unworthy of both his daughter and his MacCutcheon scotch, Sideways Widmore made Sideways Desmond feel like the son he wanted as opposed to the artsy-fartsy musician one that he had. Sideways Widmore had everything Island Widmore had to sacrifice and now yearns for — i.e., an intact if dysfunctional family. Yet this Widmore yearned to have Desmond's Up In The Air life — relationally liberated, unburdened by familial responsibilities, ''free of attachments.'' Desmond didn't share his employer's enthusiasm for his own life, but he didn't really know what was so dissatisfying about it, either. His long, lingering gazes at Claire's belly and Widmore's model sailboat spoke to his missing pieces and yearnings, but he clacked the self-awareness to understand them and the language to describe them. That would change.
Boss Chuck had a new problem for his Mr. Fix-It to solve. His willful wife was staging a charity events. His artsy-fartsy musician son wanted to perform at the gala with the band Drive Shaft — an attempt to blend ''classical music with modern rock,'' Widmore said with a roll of eyes. It was a clue, I think, to where we're headed with the interchange between Island and Sideways worlds. I don't think it'll be a matter of, say, Island Jack's consciousness displacing and replacing Sideways Jack's consciousness, but rather both minds blending to form a unique and stronger new persona. Desmond's job: get Charlie Pace out of jail; get him to the gala; make the willful wife and artsy-fartsy boy happy. Widmore joked that should Desmond fail to get Charlie to party, his wife would ''destroy'' him. That, too, played to me to like a clue — I wonder if the bitter rivalry between Eloise Hawking and Charles Widmore is not yet over.
We should talk about the painting, shouldn't we? On the wall of Widmore's office there was a canvas featuring a balanced scale, one side holding a white rock and the other side holding a black rock. Assuming the painting means something (historically speaking, this has not always been the case), we could interpret it to mean that in the Sideways world, the opposing powers represented by Jacob and the Man In Black are balanced. I might argue that what the scale represents is the tension between the Dionysian and the Apollonian — the timeless conflict between chaos and order, passion and reason. Our aforementioned friend Nietzsche was a big fan of the Apollonian/Dionysian conflict; it formed the crux of The Birth of Tragedy, in which he suggested that effective, inspiring tragedy is one in which the hero of reason struggles to make sense of unreasonable fate — and loses. But in the process of the struggle, he affirms eternal values and stands as an inspiration to others. I would argue ''Happily Ever After'' dramatized this idea by showing how Charlie's seemingly meaningless tragic sacrifice three seasons ago provided an inspiring, redeeming moment for Desmond in the Sideways world. An even more on-the-nose application of the Apollonian/Dionysian concept was last week's controversy over What Keamy Said. Did he really mention The Island to Jin — or was that our mind imposing order on formlessness? If you believe the latter, you are engaging in ''Apollonianism,'' according to linguistics people. (Or so Wikipedia tells me.)
I'll be honest with you: the reason I'm hanging my hat on this Apollonian/Dionysian stuff is to establish a precedent for a claim I will make at a later date that the Sideways world can be explained by Nietzsche's idea of ''eternal recurrence.'' Like I said: a later date. You can't wait, can you?
Desmond didn't have to work too hard to get Charlie out of jail. The pasty English rocker was walking out of the clink just as Desmond was arriving. Charlie then kept walking right into the street, oblivious or ambivalent or indifferent to the cars screeching to a half to avoid mowing him down a la Nadia or Juliet's husband. Desmond was baffled. He watched Charlie head into a bar called Jax, an Outback-themed pub with a kangaroo mascot. Lost = Kangaroo Jack? Debate. (I could make a FlashForward joke here, too. But I'm tired.)
Desmond and Charlie drank. The moment evoked the season 3 episode ''Flashes Before Your Eyes,'' when Desmond and Charlie forged their tragic rapport during an acrimonious night of drinking scotch. The Jax conversation began with personal fulfillment. Charlie: ''Are you happy?'' Desmond said he had a great job, had lots of money, and traveled a lot. ''Why wouldn't I be happy?'' Desmond was representative of a definition of happiness rooted almost exclusively in material reality. Charlie had a different definition. ''Have you ever been in love?'' Desmond: ''Thousands of times.'' Again: materialism. And… Man-Whore! ''That's not what I'm talking about,'' the rock star replied. ''I'm talking about spectacular, consciousness-altering love. Do you know what that looks like?'' Again, the thematic of show-and-tell proofing reared its head. Desmond laughed. ''I wasn't aware that love looked like anything.'' Charlie begged to differ; he claimed to have had a vision of love on the plane back from Australia. Desmond — who clearly didn't believe in his own shallow philosophy; who clearly yearned for something more — asked Charlie to explain. ''Enlighten me,'' he said.
What followed was an allegory for religious experience that leaves the zealots of reason and the zealots of faith bitterly divided: the validity of subjective reality. Charlie revealed that contrary to what we may have though, he did not try to commit suicide by ODing on the plane. Instead, Charlie got spooked when he saw U.S. marshal Edward Mars giving him the suspicious once-over and so he decided to get rid of his bag of horse by swallowing it before he could get busted. But then Oceanic 815 hit turbulence and Charlie choked on the drugs and lapsed into unconsciousness/near death. As his life ebbed away, Charlie had a vision. ''A woman. Blonde. Rapturously beautiful. And I know her. We're together. It's like we always will be. This feeling. This love. And just as I'm about to be engulfed by it…'' Charlie went to explain that party-poopers Jack Shepard and Sayid busted in to save his life.
Many of you are placing bets on who Charlie's dream girl could be. I'm guessing most people will be saying Claire. My pick is more cynical. If Sideways Charlie was truly tapping the memories of his dead Island counterpart, then I say the rapturous blonde beauty he beheld was his season 2 Island temptress: the heroin-stuffed Virgin Mary statues. The painted hair? The color of sunshine. The robes? Sky blue. It just makes sense. Go back and watch Charlie give that speech: he looks stoned out of his mind. Honestly, I'm more inclined to think that Charlie's bathroom epiphany was a hallucination. Further, I'm inclined to think that Lost was again giving subversive voice to a more skeptical, cynical view of religious feeling. I've always felt those drug-stuffed idols were a coded nod to Karl Marx's famous line that ''religion is the opiate of the masses.'' And in my opinion, Charlie's experience of engulfing love sounds more like Freud's theory of ''Oceanic.'' Sorry, Charlie: Your testimony sounds pretty fishy to me. His defense, of course, was the defense of any religious person who has nothing but personal experience to support his faith: ''I've seen something real. I've seen the truth.''
Desmond wasn't buying it. ''That's poetry,'' he cracked about Charlie's story. ''You should write a song about it.'' Actually, in another life, Charlie did write an ode to redeeming love: ''Saved,'' the song Island Charlie wrote in his last-gasp bid to save Drive Shaft from disintegration. The season 2 Charlie-centric episode ''Fire + Water'' — memorable for its surreal, religiously-charged dream sequence (Hurley as Jesus; Claire as the Virgin Mary) and the ''You All Every Butties'' diaper commercial — gave us this bit of lyrics: ''All alone, I try to be invincible/Together now, we can be saved.'' Regardless, Desmond got in his face and pulled a Jacob/Man In Black: he impressed upon Charlie the idea of free will and then presented him two choices. He could drink his musical career away, or he could do Widmore a solid and earn a favor from him in return. Charlie's response: ''That doesn't seem like a choice.'' But he chose the Widmore option, anyway…
Or he seemed to. In the car, Drive Shaft's ''You All Everybody'' came on the radio. Charlie asked Desmond if he liked it. Desmond said yes… ''for what it is.'' Charlie was stung. He again attacked Desmond's empty definition of fulfillment. An detached, dispassionate Desmond cracked sarcastic: ''Why? Because none of it is real?'' It was a tired, unthinking retort, and it inspired Charlie to play a game, not unlike The Game, the David Fincher film about a spiritual sleepwalker (Michael Douglas) who finds himself involved in a deadly alternate-reality game designed to shock him into self-awareness... or kill him. Charlie offered Desmond a choice: he could have a chance at the kind of epiphany Charlie had on the plane, or he could get out of the car. Desmond made it clear he wasn't getting out of the car — and so Charlie grabbed the steering wheel and sent the car off a pier and into the L.A. Harbor. Call it Carjacking as Spiritual Course Correction. (I suppose Desmond could have just stepped on the brake, but that would have gotten in the way of a cool moment.) Desmond's car capsized and sank. The interior filled with water. Desmond freed himself from his seatbelt and swam to the surface, then took a deep breath and dived back down to rescue Charlie, á la his Looking Glass rescue mission in season 3. Desmond tried to open the door. It wouldn't budge. He kept trying. And that's when something weird happened. It was as if some supernatural force — angelic? demonic? Jacobesque? Smokeyesque? — took possession of Charlie's body or manipulated him like a puppet on a string and turned him in his chair and slapped his palm against the window. Desmond saw the pose, then flashed on the memory of ''NOT PENNY'S BOAT.'' The sound dropped out of the scene — one of two brilliant uses of silence in the episode — and Desmond was left staggered. He recovered, then managed to haul Charlie out of the car.
Desmond and Charlie went to the hospital. Desmond thoughtfully considered the possibility he had hallucinated the flash for all of 5 seconds, then wanted to collect his troublesome Charlie package and split. The doctors said: Nope. The doctors said: We need an MRI of your brain to make sure you're not broken in the head. Desmond was set up with a panic button — a new version of his Hatch button — and rolled into yet another version of his Hatch prison. It was as if the more the MRI machine pelted his brain with energy, the more it was breaking down the psychic wall separating his Sideways self from his Island self. As it did, memories of Penny and Baby Charlie — Island Desmond's family — flooded his mind. It was wonderful. It was terrifying. It was too much, too soon. Desmond hit the panic button. He wanted out. He wanted answers. He wanted Charlie. He found him trying to make an escape from the hospital. Desmond accused Madman Charlie of trying to kill him with the car stunt. Like any self-righteous would-be prophet, Charlie responded: ''I wasn't trying to kill you. I was trying to help you.'' Desmond asked him if he knew a ''Penny.'' Charlie didn't. But he realized that Desmond had the Road to Damascus moment he tried to facilitate for him. Desmond tried to get Charlie to fulfill his obligation to play at Hawking's charity event, but Charlie reminded Desmond that a born again life demands a new way of living. ''I can't go play a rock concert after this! This doesn't matter! None of this matters! All that matters is that we felt it. … If I were you, I'd stop worrying about me and start looking for Penny.'' And with that, Charlie was gone.
Desmond broke the news to Widmore that he had lost Charlie. Pissed, Widmore broke the news to Des that he'd have to go break the news to ball-busting Eloise Hawking in person. George was worried for Desmond, too. ''So you never met the boss' wife? Good luck.'' Yet to Desmond's surprise, Eloise Hawking and her shocking white hair took the news of Charlie's disappearance well. ''Don't worry about it,'' she said. ''What happened, happened.'' End of story, really — until Desmond heard that ''Milton, Penelope (solo)'' was on the guest list for the party. Desmond inquired. Eloise flipped. The two squabbled, and then Eloise sighed and demanded that he join her for a private conference out of earshot of either the hired help, or the quirky young man playing piano whose identity was impossible to disguise. Indeed, I got the sense that Eloise had no desire to expose her delicate son, Daniel (Faraday) Widmore, to the reality-challenging argument that had to come. Eloise: ''Someone has clearly affected the way you see things. This is a serious problem. It is, in fact, a violation.'' Eloise definitely seemed to understand the origin, purpose, and more importantly the rules of the Sideways world. She also seemed to have knowledge or vision for what should be happening and when, and Desmond's search for Penny threatened the implicit order. She scolded him for wanting more than what he always wanted: Charles Widmore's approval.
This landed like a newsflash for Desmond. It surely must have started to bug him that everyone seemed to know him better than he knew himself. ''How do you know what I want?'' he demanded. ''I just bloody do!'' Eloise thundered. Desmond wanted to know: why was he being denied the info he wanted about Penny? ''Because you're not ready yet, Desmond!'' What does he need to be doing to get ready? TBD. But again, we have this idea of plans and schedules being undermined by the variable of human free will.
Desmond was defeated. He piled into his black limo. Then, Daniel Widmore came knocking on his window. He told Desmond a wild story about one day laying eyes on a chocolate bar-eating red-headed egghead who worked at a nearby museum. That would be Sideways Charlotte. ''As soon as I saw her, right in that moment, it was like I already loved her. And that's when things got weird.'' On the night of his first visual contact, Widmore began scribbling equations into notebook — sophisticated quantum mechanics stuff about ''real space'' and ''imaginary time.'' (Stephen Hawking popularized the concept of ''imaginary time.'' ''One might think this means that imaginary numbers are just a mathematical game having nothing to do with the real world. From the viewpoint of positivist philosophy, however, one cannot determine what is real. All one can do is find which mathematical models describe the universe we live in. It turns out that a mathematical model involving imaginary time predicts not only effects we have already observed but also effects we have not been able to measure yet nevertheless believe in for other reasons. So what is real and what is imaginary? Is the distinction just in our minds?'')
What does that mean? ''I'm a musician. I have no idea.'' I laughed. Dear lord, it was great seeing He Shall Always Be Faraday To Me again. But Daniel knew a math whiz at Cal Tech, and after their consult, Dan had come up with what sounded to me like... a Lost theory! His speculation: he and Desmond and many others are not living the lives they're supposed to be leading — a consequence, he believed, of creating a new reality by detonating a nuclear bomb. ''I don't want to set off a nuclear bomb, Mr. Hume,'' Daniel said. ''I think I already did.'' (Wow! Good guesses, Mr. I'm Just A Musician!) I was reminded of what Young Daniel Faraday told his mother in the episode entitled ''The Variable'' when she informed him that she wanted him to stop studying piano and start focusing his genius on physics. He could do both, he insisted. ''I can make time,'' he said. Eloise sighed. ''If only you could,'' she said. And it sounds like he did — if you believe Dan's Lost theory. Do you?
Desmond told Dan about his vision of love. Dan told him to trust the feelings that came with it as real. Desmond said his ''Penny'' was no more than an idea. ''No,'' she said Dan, ''she's my half-sister.'' Daniel directed Desmond to a local stadium where Penelope was running stairs — a nice twist on the Jack-meets-Desmond scene in the season 2 premiere, ''Man of Science, Man of Faith.'' Desmond saw Penny. WHAM! Arrow to the heart, thunderbolt to the head — dream-come-true/love at first sight. Desmond approached Penelope. This should have freaked her out. Here she was, attractive young female alone in a huge stadium, being approached by a leering, moony-eyed though very handsome man. In most any other story, her intuition should have said: ''Ted Bundy?'' Instead, Penelope seemed genuinely intrigued and attracted to the cute guy who couldn't take his eyes off her and wanted to take her hand and shake it. ''I'm Desmond,'' he said. ''I'm Penelope,'' she said. Their hands touched —
And in a breathtaking segue, quick and silent, we were back on The Island, with Desmond flat on his back, waking up for the second time in 20 minutes in a place he thought he didn't want to be. But a lot can change in 20 minutes...
The Desmond who awoke in Widmore's shrieking shack was markedly different than the one who collapsed amid a storm of electromagnetic energy. He seemed happier, lighter, and certainly more tender toward Widmore. Indicative of the thaw in their relationship: Desmond reached out to Widmore and asked for his assistance in helping him to his feet. Desmond practically radiated affection — the prodigal son, returning home to the father that he thought he hated but didn't. Again, Widmore's reaction was inscrutable. I couldn't tell if he was expecting this shift in Desmond, but he certainly welcomed it. ''It's all right. I understand. You told me you brought me to The Island to do something really important. When do we start?''
Then again… is it possible that Desmond was conning Widmore?
Zoe and some geek-goons escorted Desmond back to Hydra Station proper. Zoe was at a loss for what exactly happened in Widmore's magical conversion cabinet. ''That thing fried your brain,'' Zoe said. Desmond smirked. ''Did it?'' Then: Sayid attack. He broke some necks, then pulled a gun on Zoe. ''Run,'' he said. She ran. Awesome. Then, the hilarious irony of killer Sayid saying, ''Desmond, I don't have time to explain but these people are extremely dangerous.'' After I got done laughing, I thought: Wait — are they dangerous? To date, we have not seen Team Widmore kill one person. Yes, there was that guy that got microwaved in the EM shed, but really: Nobody's weeping for Simmons. And yes, there was a pile of dead bodies that Sawyer found on Hydra — but I'm pretty convinced that was Smokey's doing. So I'm thinking Sayid killed some eggheads for nothing. Par for the course for the easily manipulated redemption-starved assassin.
But Desmond didn't seem to mind being abducted by Sayid — mostly because I don't think it really affects the mission he has now given himself. In fact, hooking up with Sayid might actually expedite his mission.
We got a sense of what that mission might be when the story toggled back for a coda in the Sideways world. We saw that Desmond had fainted upon shaking Penelope's hand. ''I must have quite an effect on you,'' Penelope said, who suddenly felt a stir of déjà vu herself. ''Have we met before?'' Desmond asked her out for coffee. She should have said no. But she said yes. And we bought it, because frankly, the chemistry between Henry Ian Cusick and Sonya Walger is so damn irresistible. In the limo en route to his date with destiny, George asked Desmond if he needed anything else. He did. Desmond wanted the names of all the passengers aboard Oceanic 815. George asked: ''Why?'' Desmond's response was the response of any born again believer whose soul has saved by the Good News of eternity: He wanted to share it with his friends. ''I just need to show them something,'' he said, and suddenly his face took on an otherworldly glow. I couldn't tell if it was the glow of enlightenment or madness, Apollo or Dionysus, or both. Regardless, I think the great work that lies ahead for Desmond will require sacrifice, as Widmore indicated, because Desmond has the most to lose. By choosing to help Widmore and his friends in whatever capacity that is required — fighting Smokey; shepherding souls — it will mean giving up the life he fought so hard to attain in the Island world. His one consolation will be that he's seemingly assured a second chance at the same happiness in the Sideways world. His sacrifice, then, can be summed up in this exchange of dialogue from Contact:
Palmer Joss: By doing this, you're willing to give your life, you're willing to die for it. Why?
Ellie Arroway: For as long as I can remember, I've been searching for something, some reason why we're here. What are we doing here? Who are we? If this is a chance to find out even just a little part of that answer... I don't know, I think it's worth a human life. Don't you?
Additional conclusions:
First, it seems that trauma is capable of punching a hole between worlds. In the same way Desmond broke on through to the other side during the panic of his underwater crisis with Charlie, I think we can also conclude that Sideways Claire pulled Aaron's name from the memory of her mirror twin during her delivery scare in the hospital with Kate.
Second, there's the matter of Desmond's wedding ring. I think we could be looking at a situation where the migration of consciousness from Island world to Sideways world is more than just a mind-swap. I think the combining of lives and minds and histories could create whole new people, reboots of individual timelines. Perhaps this process is volatile and ongoing. The mystery of Desmond's peekaboo wedding ring? Perhaps his ''story'' was in flux or even remains in flux until the entire matter of castaway transmigration is settled.
Third, Ms. Hawking's brooch tells us something. In seasons past, she wore a version of an oroboros, with a snake chasing its tail and completing a circuit with its body, but its head remained free, escaping its own loop. I think the old pendant was a metaphor for the creation of the Sideways world. The new pendant? Two parallel lines, each bisected by a star, but at different points. The meaning? I'm still thinking.
Finally, Desmond. I think his job is to pull a John Locke/Jeremy Bentham and offer each castaway a chance to cross over into the Sideways world. I do think that's the direction of movement — Island to Sideways. I think Desmond's ''talent'' is to help each castaways open up a psychic channel for the crossing to occur. That means that Sideways Desmond has to work his people and Island Desmond has to work his people. And I think both iterations of the individual has to agree to create the channel. If Sideways Jack doesn't want to merge with Island Jack, is isn't going to happen.
Another much too long recap, and I'm sure there's much I've neglected. That's why you need to shoot me an email with your questions for my Friday Doc Jensen column. The address: docjensenew@gmail.com. Appreciate the patience in waiting for the recap to post — I now exit quickly so he can get talking... and to avoid your tomatoes.
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'Lost' countdown: Keamy, Desmond, and your burning questions
by Jeff Jensen
We begin today’s countdown to Lost with an apology to anyone for whom the phrase “countdown to…” triggers a violent post-traumatic stress response to last week’s “Countdown To V” clock that colonized the corner of “The Package” like some unwanted, lizard-skinned hamster-eating alien squatter. I shall say no more of ABC’s ill-considered choice, though for anyone in the market for snarky vivisection, I direct you to this week’s episode of Totally Lost, which you will find at the end of this column.
Next order of business: a new direction for my remaining Doc Jensen columns of the season — my last Doc Jensen columns, like, ever. Those who read them know that I usually fill the space with a theory or book report about some text referenced by the show in a previous episode. For example, last week, I flipped though Haroun and the Sea of the Stories hoping to find insight about tonight’s episode of Lost, “Happily Ever After,” which focuses on Desmond Hume. (Thanks to several readers, including Twitter follower @z6az6ouz for pointing out to me that “Haroun” is Arabic for “Aaron.”) Beginning with this Friday’s column, I’m going start doing something very different. Judging from the message boards and my e-mail, you have questions that need to be answered and opinions that need to be aired about this alternately absorbing and confounding final season of Lost. What you want from this wholly fake “Doc” is to act more like a semi-fake “Doc” and provide some truly useful analytical R/X to remedy your chronic confusion. You’re still going to get crazy theories from me. But here in these last days of acquaintance, I’d rather use the unique opportunity of this column to be talking with you, not at you, about Lost.
This is how it will work. If you have a burning question, glorious praise, or scathing criticism of the new episode of Lost, send me an e-mail at docjensenew@gmail.com by end of day Wednesday. I’ll respond to as many of the most urgent and topical inquiries as space can allow in my Friday column. I encourage you take advantage of this service, for as we get closer and closer to the finale, I suspect your questions will only intensify, leaving you itchier than a lonesome gold prospector after a nugget-blowing night at a Deadwood bordello. So tomorrow, after my fatty recap leaves you uncomfortably full and woefully undernourished, please: send me an e-mail with your question and I’ll do you right on Friday.
Let’s give this bold new idea a test run today. Pretend it’s last week. You just watched “The Package,” and you have this one burning question about a certain something that happened in the episode — something that for some seemingly inexplicable reason I chose not to write about in my recap. So you decide to write me an email. The e-mail would be something like this email sent to me by reader Crit Obara:
Hey Doc! I didn’t pick up on it at first, but someone pointed it out so I went back and listened a handful of times, and now I’m 99 percent certain that Keamy told Jin “I’m gonna strap you in here just in case you figure out what’s about to happen to your island.” What in the world could that mean!?
My response to such an e-mail would like this:
Yo, Crit! Your name rocks! You know, when I first heard that Keamy line, I heard what everyone else seemed to hear, too, but I was so certain that I was hearing it wrong that I assumed I truly was wrong and chose to just ignore it. So I was pretty disappointed in myself for not trusting my ears — or rather, for not trusting that everyone else would hear (or mishear) the line the same way. My official position on the matter is that until I am told differently, I am going to continue to assume that Keamy really didn’t say what it sure sounds like he said, that we’re dealing with a phonic irony produced by Keamy’s affected speech. But I wish it were legit! I love this theory: that the barrier between realities is breaking down and causing weird temporal/continuity blips. This theory would argue that even Keamy wasn’t aware of what he said, thanks to “No English!” Jin’s inability to understand what he said and comment on his captor’s Freudian time-slip of the tongue. This odd anomaly could foreshadow a larger breakdown between the Island and Sideways realities. Ditto: the appearance last week by Mikhail Bakunin, named after the Russian anarchist; in today’s Totally Lost, I speculate that Mikhail’s chaos-creating cameo was an omen of more cosmic anarchy to come. Anyway, thanks for writing, Crit!
Anyway, you get the gist. From here on out, I’ll be using the Doc Jensen column to facilitate an of-the-moment conversation about Lost matters that matter the most to you. We shall launch this glorious new era of constructive dialogue on Friday. My guess is most of your questions will be about Desmond. In fact, besides the Keamy thing, Desmond seems to be top of mind for most over-thinking Lost fans. Here’s a sampling of the Desmond-themed e-mail I’ve received this week, beginning with this letter, which intersects with a certain widely despised theory that I shared with you a few weeks ago…
Just finished reading your recap of “The Package.” I was surprised to see that, given your recent theory that Daniel Faraday is Smokey [or at least swallowed up inside him somehow; see Thor Annual #10 for Atum the Demiurge], that you didn’t mention that Desmond Hume being the Package, or Widmore’s ace in the hole, could be related to the fact that Desmond is Daniel Faraday’s constant. Being corrupted into Smokey would certainly classify as “If anything goes wrong…” Were you just saving this? Or have you lost faith in Faraday as Smokey Theory? — Marc, Columbus, Ohio
First, let me make something clear. I don’t really watch Lost through the perspective of my theories. I try to leave all my crazy conjectures behind with each new episode. Some weeks I’m more successful at doing that than others. But seriously, the fun of theorizing comes from thinking about possibilities, not trying to be right. That said, to Marc’s question, I have lost a little faith in my Dan The Smoke Man theory since postulating it in my recap of “Recon.” In fact, I found myself losing faith in it about 10 seconds after posting it. (Most of my theories leave me with that kind of beer-goggle regret.) What really smashed my Smokey = Faraday conviction was “Ab Aeterno.” It seems clear to me that Smokey isn’t a puzzle of mysterious identity but rather a very specific character with a very specific backstory that we have not yet been told. I remain convinced that he is somehow linked to/responsible for The Island’s dead, that he may manage or even hold within himself the souls of anyone who has slipped the coil on The Island. But I don’t think he’s actually Daniel Faraday in disguise or a hive mind of various disembodied souls… though I have to admit your Desmond conjecture leaves me newly excited by my theory. I dig the Atum/Thor connection! Regardless: what is it about Desmond that Charles Widmore would consider him an effective anti-Smokey device? I hope tonight’s episode sheds illumination on the matter…
Or maybe reader Stacy has the answer:
I’ve been thinking about the preview for “Happily Ever After” and have a theory on why “the island isn’t done” with Desmond yet. So he was pushing a button for years in a hatch sitting on top of a huge pocket of electromagnetic energy. What if this gave him radiation poisoning of sorts, but in a good way that made him immune to Smokey? So now, he’s the only one that can truly stop him because he has nothing to fear!
Stacy, I do think Desmond’s days marinating in the half-life of The Island’s Chernobyl and slowly becoming a Hulk-like super-sponge of radiation has something to do with his importance to Widmore’s plans. But maybe it’s more about the specific ability that blossomed out of that absorption of awful-awesome energies. Responding to a suggestion I made in last week’s summary of “The Package,” reader Ken counters:
Maybe Desmond isn’t Sideways Desmond, as you purpose in your latest recap. Maybe he is necessary because he can project his mind into his body of another time (as we have seen in previous episodes, like “The Constant.”) Maybe he can also project his mind into his body of another reality and that is how the castaways will get to the Sideways-verse.
Cool conjectures, Ken. Permit me to build onto them by reminding everyone how Desmond was able to survive the time travel sickness that killed characters like Minkowski (Fisher Stevens) in season 4. His secret to keeping his mind and his life: Penelope, his emotional and spiritual “constant,” the anchor that kept him grounded in the present. Maybe we’re going to find out that somewhere on The Island, there exists the means to travel between realities, and Charles Widmore is going to use Desmond as a guinea pig to test the process. He’s Widmore’s Manhattan (project) Transfer! Don’t call Desmond a Spaceman — call him an Inter-Spaceman! (That thought suddenly reminds me of Walt. Is that why The Others wanted him? Not only to motivate Michael to action, but to see if his unique, seemingly supernatural mental abilities made him a suitable Alternanaut?)
In “Ab Aeterno,” Richard accidentally killed the doctor by pushing him. The doctor fell down and hit the back of his head, dying soon after. As this was happening, I couldn’t help but think of the scene when Desmond fought his former Hatch partner, Kelvin Inman, who fell against the rocks, hits the back of his head, and died. We saw blood coming from both of these dying men’s heads. I have to say this connection is intentional. What are your thoughts? — Amelia, Minnetonka, MN
I agree, Amelia, it seemed like Lost was begging a Richard-Desmond comparison. So it makes me wonder if we’re being set up for a story that will accentuate their differences. The more I think about “Ab Aeterno,” the more I wonder if what we got was the opposite of “The Constant.” In that classic episode, we got an example of Island magic facilitating a connection between lovers (Des and Pen) separated by time and space. Same deal in “Ab Aeterno.” Via Ghost Whisperer Hurley, Richard got to have a date with his dead wife, Isabella. But whereas the DesPen hook up was legit, I suspect Richabella’s spectral skyping was a Smokey-engineered con designed to manipulate Alpert to make his Force 10 From Navarone play on the Ajira plane on Hydra Island.
And with that, this week’s countdown to Lost comes to a close. The new episode of Totally Lost awaits, and if you like cryptic-fun teases, we have three puzzlers embedded in the usual mix of mirth and blather that is our specialty. (Our = my co-host Dan Snierson and our producer/editor extraordinaire, the czar of the subtitle zinger, Jason Averett.) Yunjin Kim also makes a brief appearance in this episode and says… something. If you speak Korean — or can revive Mikhail Bakunin from the dead — please drop us a line and let us know what exactly she said about us. A special note for those bleeding edge Apple people with those fancy new iPads: If you have any trouble viewing videos in PopWatch or if you’re on an iPhone/iPad, head over to the Totally Lost hub to watch Part 1, Part 2, and Part 3. Later tonight, I’ll have an instant reaction to “Happily Ever After,” and tomorrow, I’ll have a full recap of the episode for your reading pleasure/derision. (I’m full service that way. Need someone to hate? I can be that for you. I can be the loathsome Other to your sad, miserable, despairing Claire.) Follow me on Twitter @ewdocjensen. Send me e-mails at docjensenew@gmail. Or just go about your business and have an awesome day. Yes! Do that!
Doc Jensen
http://popwatch.ew.com/2010/04/06/lost-keamy-desmond/?ew_packageID=20313460?xid=email-alert-lost-20100406-item1
We begin today’s countdown to Lost with an apology to anyone for whom the phrase “countdown to…” triggers a violent post-traumatic stress response to last week’s “Countdown To V” clock that colonized the corner of “The Package” like some unwanted, lizard-skinned hamster-eating alien squatter. I shall say no more of ABC’s ill-considered choice, though for anyone in the market for snarky vivisection, I direct you to this week’s episode of Totally Lost, which you will find at the end of this column.
Next order of business: a new direction for my remaining Doc Jensen columns of the season — my last Doc Jensen columns, like, ever. Those who read them know that I usually fill the space with a theory or book report about some text referenced by the show in a previous episode. For example, last week, I flipped though Haroun and the Sea of the Stories hoping to find insight about tonight’s episode of Lost, “Happily Ever After,” which focuses on Desmond Hume. (Thanks to several readers, including Twitter follower @z6az6ouz for pointing out to me that “Haroun” is Arabic for “Aaron.”) Beginning with this Friday’s column, I’m going start doing something very different. Judging from the message boards and my e-mail, you have questions that need to be answered and opinions that need to be aired about this alternately absorbing and confounding final season of Lost. What you want from this wholly fake “Doc” is to act more like a semi-fake “Doc” and provide some truly useful analytical R/X to remedy your chronic confusion. You’re still going to get crazy theories from me. But here in these last days of acquaintance, I’d rather use the unique opportunity of this column to be talking with you, not at you, about Lost.
This is how it will work. If you have a burning question, glorious praise, or scathing criticism of the new episode of Lost, send me an e-mail at docjensenew@gmail.com by end of day Wednesday. I’ll respond to as many of the most urgent and topical inquiries as space can allow in my Friday column. I encourage you take advantage of this service, for as we get closer and closer to the finale, I suspect your questions will only intensify, leaving you itchier than a lonesome gold prospector after a nugget-blowing night at a Deadwood bordello. So tomorrow, after my fatty recap leaves you uncomfortably full and woefully undernourished, please: send me an e-mail with your question and I’ll do you right on Friday.
Let’s give this bold new idea a test run today. Pretend it’s last week. You just watched “The Package,” and you have this one burning question about a certain something that happened in the episode — something that for some seemingly inexplicable reason I chose not to write about in my recap. So you decide to write me an email. The e-mail would be something like this email sent to me by reader Crit Obara:
Hey Doc! I didn’t pick up on it at first, but someone pointed it out so I went back and listened a handful of times, and now I’m 99 percent certain that Keamy told Jin “I’m gonna strap you in here just in case you figure out what’s about to happen to your island.” What in the world could that mean!?
My response to such an e-mail would like this:
Yo, Crit! Your name rocks! You know, when I first heard that Keamy line, I heard what everyone else seemed to hear, too, but I was so certain that I was hearing it wrong that I assumed I truly was wrong and chose to just ignore it. So I was pretty disappointed in myself for not trusting my ears — or rather, for not trusting that everyone else would hear (or mishear) the line the same way. My official position on the matter is that until I am told differently, I am going to continue to assume that Keamy really didn’t say what it sure sounds like he said, that we’re dealing with a phonic irony produced by Keamy’s affected speech. But I wish it were legit! I love this theory: that the barrier between realities is breaking down and causing weird temporal/continuity blips. This theory would argue that even Keamy wasn’t aware of what he said, thanks to “No English!” Jin’s inability to understand what he said and comment on his captor’s Freudian time-slip of the tongue. This odd anomaly could foreshadow a larger breakdown between the Island and Sideways realities. Ditto: the appearance last week by Mikhail Bakunin, named after the Russian anarchist; in today’s Totally Lost, I speculate that Mikhail’s chaos-creating cameo was an omen of more cosmic anarchy to come. Anyway, thanks for writing, Crit!
Anyway, you get the gist. From here on out, I’ll be using the Doc Jensen column to facilitate an of-the-moment conversation about Lost matters that matter the most to you. We shall launch this glorious new era of constructive dialogue on Friday. My guess is most of your questions will be about Desmond. In fact, besides the Keamy thing, Desmond seems to be top of mind for most over-thinking Lost fans. Here’s a sampling of the Desmond-themed e-mail I’ve received this week, beginning with this letter, which intersects with a certain widely despised theory that I shared with you a few weeks ago…
Just finished reading your recap of “The Package.” I was surprised to see that, given your recent theory that Daniel Faraday is Smokey [or at least swallowed up inside him somehow; see Thor Annual #10 for Atum the Demiurge], that you didn’t mention that Desmond Hume being the Package, or Widmore’s ace in the hole, could be related to the fact that Desmond is Daniel Faraday’s constant. Being corrupted into Smokey would certainly classify as “If anything goes wrong…” Were you just saving this? Or have you lost faith in Faraday as Smokey Theory? — Marc, Columbus, Ohio
First, let me make something clear. I don’t really watch Lost through the perspective of my theories. I try to leave all my crazy conjectures behind with each new episode. Some weeks I’m more successful at doing that than others. But seriously, the fun of theorizing comes from thinking about possibilities, not trying to be right. That said, to Marc’s question, I have lost a little faith in my Dan The Smoke Man theory since postulating it in my recap of “Recon.” In fact, I found myself losing faith in it about 10 seconds after posting it. (Most of my theories leave me with that kind of beer-goggle regret.) What really smashed my Smokey = Faraday conviction was “Ab Aeterno.” It seems clear to me that Smokey isn’t a puzzle of mysterious identity but rather a very specific character with a very specific backstory that we have not yet been told. I remain convinced that he is somehow linked to/responsible for The Island’s dead, that he may manage or even hold within himself the souls of anyone who has slipped the coil on The Island. But I don’t think he’s actually Daniel Faraday in disguise or a hive mind of various disembodied souls… though I have to admit your Desmond conjecture leaves me newly excited by my theory. I dig the Atum/Thor connection! Regardless: what is it about Desmond that Charles Widmore would consider him an effective anti-Smokey device? I hope tonight’s episode sheds illumination on the matter…
Or maybe reader Stacy has the answer:
I’ve been thinking about the preview for “Happily Ever After” and have a theory on why “the island isn’t done” with Desmond yet. So he was pushing a button for years in a hatch sitting on top of a huge pocket of electromagnetic energy. What if this gave him radiation poisoning of sorts, but in a good way that made him immune to Smokey? So now, he’s the only one that can truly stop him because he has nothing to fear!
Stacy, I do think Desmond’s days marinating in the half-life of The Island’s Chernobyl and slowly becoming a Hulk-like super-sponge of radiation has something to do with his importance to Widmore’s plans. But maybe it’s more about the specific ability that blossomed out of that absorption of awful-awesome energies. Responding to a suggestion I made in last week’s summary of “The Package,” reader Ken counters:
Maybe Desmond isn’t Sideways Desmond, as you purpose in your latest recap. Maybe he is necessary because he can project his mind into his body of another time (as we have seen in previous episodes, like “The Constant.”) Maybe he can also project his mind into his body of another reality and that is how the castaways will get to the Sideways-verse.
Cool conjectures, Ken. Permit me to build onto them by reminding everyone how Desmond was able to survive the time travel sickness that killed characters like Minkowski (Fisher Stevens) in season 4. His secret to keeping his mind and his life: Penelope, his emotional and spiritual “constant,” the anchor that kept him grounded in the present. Maybe we’re going to find out that somewhere on The Island, there exists the means to travel between realities, and Charles Widmore is going to use Desmond as a guinea pig to test the process. He’s Widmore’s Manhattan (project) Transfer! Don’t call Desmond a Spaceman — call him an Inter-Spaceman! (That thought suddenly reminds me of Walt. Is that why The Others wanted him? Not only to motivate Michael to action, but to see if his unique, seemingly supernatural mental abilities made him a suitable Alternanaut?)
In “Ab Aeterno,” Richard accidentally killed the doctor by pushing him. The doctor fell down and hit the back of his head, dying soon after. As this was happening, I couldn’t help but think of the scene when Desmond fought his former Hatch partner, Kelvin Inman, who fell against the rocks, hits the back of his head, and died. We saw blood coming from both of these dying men’s heads. I have to say this connection is intentional. What are your thoughts? — Amelia, Minnetonka, MN
I agree, Amelia, it seemed like Lost was begging a Richard-Desmond comparison. So it makes me wonder if we’re being set up for a story that will accentuate their differences. The more I think about “Ab Aeterno,” the more I wonder if what we got was the opposite of “The Constant.” In that classic episode, we got an example of Island magic facilitating a connection between lovers (Des and Pen) separated by time and space. Same deal in “Ab Aeterno.” Via Ghost Whisperer Hurley, Richard got to have a date with his dead wife, Isabella. But whereas the DesPen hook up was legit, I suspect Richabella’s spectral skyping was a Smokey-engineered con designed to manipulate Alpert to make his Force 10 From Navarone play on the Ajira plane on Hydra Island.
And with that, this week’s countdown to Lost comes to a close. The new episode of Totally Lost awaits, and if you like cryptic-fun teases, we have three puzzlers embedded in the usual mix of mirth and blather that is our specialty. (Our = my co-host Dan Snierson and our producer/editor extraordinaire, the czar of the subtitle zinger, Jason Averett.) Yunjin Kim also makes a brief appearance in this episode and says… something. If you speak Korean — or can revive Mikhail Bakunin from the dead — please drop us a line and let us know what exactly she said about us. A special note for those bleeding edge Apple people with those fancy new iPads: If you have any trouble viewing videos in PopWatch or if you’re on an iPhone/iPad, head over to the Totally Lost hub to watch Part 1, Part 2, and Part 3. Later tonight, I’ll have an instant reaction to “Happily Ever After,” and tomorrow, I’ll have a full recap of the episode for your reading pleasure/derision. (I’m full service that way. Need someone to hate? I can be that for you. I can be the loathsome Other to your sad, miserable, despairing Claire.) Follow me on Twitter @ewdocjensen. Send me e-mails at docjensenew@gmail. Or just go about your business and have an awesome day. Yes! Do that!
Doc Jensen
http://popwatch.ew.com/2010/04/06/lost-keamy-desmond/?ew_packageID=20313460?xid=email-alert-lost-20100406-item1
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Wednesday, April 7, 2010
Tuesday, April 6, 2010
A couple find themselves thanks to their 'Lost' work
Wednesday, April 07, 2010
By Michael Wilson, New York Times News Service
The ABC drama "Lost" --whose cast includes Terry O'Quinn, left, and Josh Holloway -- has spawned fan sites and podcasts, including one created by a couple in Hawaii.The action on "Lost" takes place in the wilds of adventure reels and pulp paperbacks, racing through island jungles and in and out of submarines, caves, an underground lair beneath a heavy hatch and the torch-lit temple of the Others. But "The Transmission," despite its place among many fans as the definitive weekly podcast about "Lost," plays out in the far less exotic -- if still dangerous -- toy room of the Ozawa family in Honolulu.
"If we move our feet," said Ryan Ozawa, father of three, "we'll knock over something that squeaks."
"The Transmission," at hawaiiup.com/lost, was created in 2005 by Mr. Ozawa, 35, and his wife, Jen, 37. Every week they recap the plot in their trademark "under eight minutes" speed style, already setting them apart from the exhaustive, and exhausting, rehashings of some of their peers. Then they sit back and discuss the episode in further depth, plumbing myriad rabbit holes, flushing red herrings, calling out the writers for the occasional weak segment, replaying voice-mail messages left by fans and generally having a ball.
"We're spending a lot more time together than before the podcast," Mr. Ozawa said in a joint telephone interview with his wife. "In terms of what it's done for us, I love it. We're nerdy together, so that's a good thing."
The good thing called "Lost," however, must soon come to an end. The show about castaways who crash-landed on a mysterious island has been hailed as a new benchmark in serial drama, and its creators have been lauded for their decision to pull the plug with the finale on May 23 after six seasons before staleness set in. But being left behind are the legions of fans who dissect the show's every plot twist online and off -- lostpedia.wikia.com and thefuselage.com are among the more popular Web destinations -- in numbers unlike any other television show. What will become of them, the new castaways left to wander around with no smoke monster or Man in Black (or are they the same thing?) to look forward to on Tuesday nights?
"I get this question a lot," said Jeff Jensen, an Entertainment Weekly writer who cranks out two multi-thousand-word columns and a video about "Lost" every week. "Apparently no one had paid attention to anything I had written before now."
"When it's over, it'll be like there's a short-term joy," he added. " 'OK, that's the story, that's over.' I'll never have to pull all-nighters writing about this show again."
For others, the end of the road is still a long way off.
"How is it any different than reading a book?" said Nikki Stafford, author of a series of "Finding Lost" guide books. "Once you get to the end of a Dickens book, can you not discuss it? When it ends, you can really start to analyze the show going back to the beginning."
For the Ozawas "Lost" has been a special gift. For a few hours each week the agita and logistics of work and child rearing fall away. Every Saturday night the kids go to bed, Mr. Ozawa turns on his laptop and two microphones, and a man and woman together 16 years turn into just another couple of geeks. Their obvious delight in each other's company makes them stand out not only among "Lost" podcasts, where fanboys rule, but among many married-couple podcasts and, for that matter, many married couples.
If this were a "Lost" episode, here would be the flashback: They met at the University of Hawaii at Hilo in 1994. She was the daughter of a Navy man and was born in Florida. He was a native.
"He came over to our table -- a mutual friend brought him over," Ms. Ozawa said. "I just immediately thought Ryan was really interesting because he was funny and charming and not like any of the guys we went to school with."
His version: "This guy said, 'Come meet these great ladies,' and it was awesome."
They lived together through college, married in November 1997 and had their first child, Katie, in January 1998. ("You do the math," he said.) They've lived in Hawaii ever since and followed Katie with two sons, Zachary, who is 7, and Alex, 5. Mr. Ozawa, a self-described technologist who works at a real estate data firm, has toes in every communication medium: a public radio show about technology, a blog about life in Hawaii, a "Lost" blog and a regular morning guest spot on a local TV station to discuss the show.
"The Transmission" is not his first podcast but a spinoff of another, "HawaiiUP," on which his wife was a featured player.
"He was going to follow me around with a tape recorder, and the segment would be called 'Annoy the Wife,' " she said. "I actually came on and just talked about stuff, whatever movies we've seen and TV we were watching."
That, auspiciously, included the first season of "Lost." They discovered a fan base with a seemingly bottomless appetite for postmortem chat, and decided to start a new podcast with the premiere of Season 2 in 2005.
"Aloha from the island," a nervous-sounding Ms. Ozawa said that day. "My name is Jen."
"And I'm Ryan," Mr. Ozawa said.
"Mahalo," she said. "Thank you for listening."
Their style was stiff, more formal than today, when it can seem as if the listener is eavesdropping instead of being spoken to. (There was a recording hiatus during much of the third and fourth seasons, but the Ozawas backfilled the gaps in their podcast.)
Back to the present: Their "Lost" week begins around 8:20 on Tuesday nights, when they tune in to their DVR while the episode is in progress, to skip over commercials. "Anything Jen yells out loud I write down," Mr. Ozawa said. " 'You don't like Kate,' X, Y and Z."
Afterward they chat a while, and then she goes to bed while he posts their reactions on their "Transmission" Web site. In a very short time it is not unusual for 300 people to comment, he said, and their voice mail gets 30 or 40 calls a week.
"We have regulars," many of whom are known by their locations, he said. "I know that 'Yann from France' isn't going to like this episode. We have a gal in Turkey who comments regularly. There's a guy up the street from us who comments. It's a nice mix."
The next morning Mr. Ozawa appears on KITV with a few talking points. He wears a Hawaiian shirt and says things you don't normally hear on the news, such as: "Obviously the parallels between Claire's character and Danielle Rousseau's character, the crazy French woman from early on, are key."
(They believe that only once did they miss an episode on the night it was broadcast, when they went to a Journey concert. Mr. Ozawa faked it on the news the next morning.)
As the weekend approaches, she sifts through the e-mail, while he transcribes voice mail. He comes up with notes with topics he'd like to hit, voice mails he'd like to play and spoilers he plans to share based on eyewitness accounts of scenes as they are shot in Hawaii. They figure they put in about 10 hours a week for a 90-minute podcast.
Mr. Ozawa maintains that, oddly enough, the experience makes him a better husband. "We get along better and more consistently because we feel that it serves a greater purpose than just us -- not that our kids aren't our greatest purpose," he said. "I can see myself behaving differently and not being a big jerk and stuff, because I want Jen to be in a good mood."
Finally, Saturday arrives, and "then it's just a matter of getting the kids to bed so we can record," he said. About three hours later Mrs. Ozawa again heads for bed, while he uploads the podcast, finally finishing around 2 a.m. Sunday. They took on a corporate sponsor, Audible.com (an Amazon.com subsidiary), some time back and are paid enough to have traveled to that most celebrated geek paradise, the Comic-Con convention in San Diego, to get news on the show and meet fans.
Flash ahead to May 23, the finale: "We're probably going to cry all the way through it because it is such a central part of our lives," Mr. Ozawa said.
But Ms. Ozawa seemed quite ready to greet the morning sun on May 24. "To be completely honest, it will be sort of a relief in a way," she said. "We can start doing other stuff."
Not so fast. There is the lingering matter of Season 1, which predates the podcast.
"People have asked us ...," Mr. Ozawa said.
http://www.post-gazette.com/pg/10097/1048306-67.stm
By Michael Wilson, New York Times News Service
The ABC drama "Lost" --whose cast includes Terry O'Quinn, left, and Josh Holloway -- has spawned fan sites and podcasts, including one created by a couple in Hawaii.The action on "Lost" takes place in the wilds of adventure reels and pulp paperbacks, racing through island jungles and in and out of submarines, caves, an underground lair beneath a heavy hatch and the torch-lit temple of the Others. But "The Transmission," despite its place among many fans as the definitive weekly podcast about "Lost," plays out in the far less exotic -- if still dangerous -- toy room of the Ozawa family in Honolulu.
"If we move our feet," said Ryan Ozawa, father of three, "we'll knock over something that squeaks."
"The Transmission," at hawaiiup.com/lost, was created in 2005 by Mr. Ozawa, 35, and his wife, Jen, 37. Every week they recap the plot in their trademark "under eight minutes" speed style, already setting them apart from the exhaustive, and exhausting, rehashings of some of their peers. Then they sit back and discuss the episode in further depth, plumbing myriad rabbit holes, flushing red herrings, calling out the writers for the occasional weak segment, replaying voice-mail messages left by fans and generally having a ball.
"We're spending a lot more time together than before the podcast," Mr. Ozawa said in a joint telephone interview with his wife. "In terms of what it's done for us, I love it. We're nerdy together, so that's a good thing."
The good thing called "Lost," however, must soon come to an end. The show about castaways who crash-landed on a mysterious island has been hailed as a new benchmark in serial drama, and its creators have been lauded for their decision to pull the plug with the finale on May 23 after six seasons before staleness set in. But being left behind are the legions of fans who dissect the show's every plot twist online and off -- lostpedia.wikia.com and thefuselage.com are among the more popular Web destinations -- in numbers unlike any other television show. What will become of them, the new castaways left to wander around with no smoke monster or Man in Black (or are they the same thing?) to look forward to on Tuesday nights?
"I get this question a lot," said Jeff Jensen, an Entertainment Weekly writer who cranks out two multi-thousand-word columns and a video about "Lost" every week. "Apparently no one had paid attention to anything I had written before now."
"When it's over, it'll be like there's a short-term joy," he added. " 'OK, that's the story, that's over.' I'll never have to pull all-nighters writing about this show again."
For others, the end of the road is still a long way off.
"How is it any different than reading a book?" said Nikki Stafford, author of a series of "Finding Lost" guide books. "Once you get to the end of a Dickens book, can you not discuss it? When it ends, you can really start to analyze the show going back to the beginning."
For the Ozawas "Lost" has been a special gift. For a few hours each week the agita and logistics of work and child rearing fall away. Every Saturday night the kids go to bed, Mr. Ozawa turns on his laptop and two microphones, and a man and woman together 16 years turn into just another couple of geeks. Their obvious delight in each other's company makes them stand out not only among "Lost" podcasts, where fanboys rule, but among many married-couple podcasts and, for that matter, many married couples.
If this were a "Lost" episode, here would be the flashback: They met at the University of Hawaii at Hilo in 1994. She was the daughter of a Navy man and was born in Florida. He was a native.
"He came over to our table -- a mutual friend brought him over," Ms. Ozawa said. "I just immediately thought Ryan was really interesting because he was funny and charming and not like any of the guys we went to school with."
His version: "This guy said, 'Come meet these great ladies,' and it was awesome."
They lived together through college, married in November 1997 and had their first child, Katie, in January 1998. ("You do the math," he said.) They've lived in Hawaii ever since and followed Katie with two sons, Zachary, who is 7, and Alex, 5. Mr. Ozawa, a self-described technologist who works at a real estate data firm, has toes in every communication medium: a public radio show about technology, a blog about life in Hawaii, a "Lost" blog and a regular morning guest spot on a local TV station to discuss the show.
"The Transmission" is not his first podcast but a spinoff of another, "HawaiiUP," on which his wife was a featured player.
"He was going to follow me around with a tape recorder, and the segment would be called 'Annoy the Wife,' " she said. "I actually came on and just talked about stuff, whatever movies we've seen and TV we were watching."
That, auspiciously, included the first season of "Lost." They discovered a fan base with a seemingly bottomless appetite for postmortem chat, and decided to start a new podcast with the premiere of Season 2 in 2005.
"Aloha from the island," a nervous-sounding Ms. Ozawa said that day. "My name is Jen."
"And I'm Ryan," Mr. Ozawa said.
"Mahalo," she said. "Thank you for listening."
Their style was stiff, more formal than today, when it can seem as if the listener is eavesdropping instead of being spoken to. (There was a recording hiatus during much of the third and fourth seasons, but the Ozawas backfilled the gaps in their podcast.)
Back to the present: Their "Lost" week begins around 8:20 on Tuesday nights, when they tune in to their DVR while the episode is in progress, to skip over commercials. "Anything Jen yells out loud I write down," Mr. Ozawa said. " 'You don't like Kate,' X, Y and Z."
Afterward they chat a while, and then she goes to bed while he posts their reactions on their "Transmission" Web site. In a very short time it is not unusual for 300 people to comment, he said, and their voice mail gets 30 or 40 calls a week.
"We have regulars," many of whom are known by their locations, he said. "I know that 'Yann from France' isn't going to like this episode. We have a gal in Turkey who comments regularly. There's a guy up the street from us who comments. It's a nice mix."
The next morning Mr. Ozawa appears on KITV with a few talking points. He wears a Hawaiian shirt and says things you don't normally hear on the news, such as: "Obviously the parallels between Claire's character and Danielle Rousseau's character, the crazy French woman from early on, are key."
(They believe that only once did they miss an episode on the night it was broadcast, when they went to a Journey concert. Mr. Ozawa faked it on the news the next morning.)
As the weekend approaches, she sifts through the e-mail, while he transcribes voice mail. He comes up with notes with topics he'd like to hit, voice mails he'd like to play and spoilers he plans to share based on eyewitness accounts of scenes as they are shot in Hawaii. They figure they put in about 10 hours a week for a 90-minute podcast.
Mr. Ozawa maintains that, oddly enough, the experience makes him a better husband. "We get along better and more consistently because we feel that it serves a greater purpose than just us -- not that our kids aren't our greatest purpose," he said. "I can see myself behaving differently and not being a big jerk and stuff, because I want Jen to be in a good mood."
Finally, Saturday arrives, and "then it's just a matter of getting the kids to bed so we can record," he said. About three hours later Mrs. Ozawa again heads for bed, while he uploads the podcast, finally finishing around 2 a.m. Sunday. They took on a corporate sponsor, Audible.com (an Amazon.com subsidiary), some time back and are paid enough to have traveled to that most celebrated geek paradise, the Comic-Con convention in San Diego, to get news on the show and meet fans.
Flash ahead to May 23, the finale: "We're probably going to cry all the way through it because it is such a central part of our lives," Mr. Ozawa said.
But Ms. Ozawa seemed quite ready to greet the morning sun on May 24. "To be completely honest, it will be sort of a relief in a way," she said. "We can start doing other stuff."
Not so fast. There is the lingering matter of Season 1, which predates the podcast.
"People have asked us ...," Mr. Ozawa said.
http://www.post-gazette.com/pg/10097/1048306-67.stm
Labels:
'Lost',
Jen Ozawa,
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"The Package" Poll Results
What did you think of "The Package"
As AWESOME as Jin getting to see Ji Yeon for the first time. 5 (35%)
As GREAT as Sun's flirtation 5 (35%)
OK 4 (28%)
As BAD as Zoe's botched MIB camp raid 0 (0%)
As HORRIBLE as having to listen to Keemy's creepy thoughts about love 0 (0%)
Votes so far: 14
What were your favorate moments in "The Package"?
Sun's flirtation with Jin 6 (35%)
Seeing Keemy and Omar again 3 (17%)
Mikail!!!!! 6 (35%)
Omar's reply to Keemy's Arab comment 2 (11%)
Keemy talking to Jin about what the heart wants 2 (11%)
Zoe's raid on MIB's camp 3 (17%)
MIB/Locke's meeting with Sun 3 (17%)
Sun in her gardin again 2 (11%)
Jin seeing Ji Yeon for the first time 10 (58%)
Room 23!!!!!!!!!!!!!!!!! 8 (47%)
The Desmond reveal 9 (52%)
Sayid coming up from the water 3 (17%)
The MIB/Locke Widmore confrontation 6 (35%)
Sun's Aphasia 0 (0%)
Sun and Jack's conversation on the beach 6 (35%)
Widmore meeting with Jin 1 (5%)
Votes so far: 17
As AWESOME as Jin getting to see Ji Yeon for the first time. 5 (35%)
As GREAT as Sun's flirtation 5 (35%)
OK 4 (28%)
As BAD as Zoe's botched MIB camp raid 0 (0%)
As HORRIBLE as having to listen to Keemy's creepy thoughts about love 0 (0%)
Votes so far: 14
What were your favorate moments in "The Package"?
Sun's flirtation with Jin 6 (35%)
Seeing Keemy and Omar again 3 (17%)
Mikail!!!!! 6 (35%)
Omar's reply to Keemy's Arab comment 2 (11%)
Keemy talking to Jin about what the heart wants 2 (11%)
Zoe's raid on MIB's camp 3 (17%)
MIB/Locke's meeting with Sun 3 (17%)
Sun in her gardin again 2 (11%)
Jin seeing Ji Yeon for the first time 10 (58%)
Room 23!!!!!!!!!!!!!!!!! 8 (47%)
The Desmond reveal 9 (52%)
Sayid coming up from the water 3 (17%)
The MIB/Locke Widmore confrontation 6 (35%)
Sun's Aphasia 0 (0%)
Sun and Jack's conversation on the beach 6 (35%)
Widmore meeting with Jin 1 (5%)
Votes so far: 17
'Lost' Emmy mystery solved: Terry O'Quinn returns to the supporting-actor race
April 5, 2010 1:47 pm
Among all of the "Lost" cliffhangers looming as the past Emmy champ as best drama series (2006) airs its final TV episodes, fans wonder: Will Terry O'Quinn (winner, supporting actor in a drama, 2007) return to the derby after bowing out last year? And, if so, will he go lead or supporting? His role as the demonic "Man in Black" during the show's final season has been so prominent that he could certainly opt to jump up to the lead race.
But several months after Terry O'Quinn won in 2007, he told viewers of "The View" that he might not leap into any Emmy race: "My view was that, when you win an Emmy for a role, you ought to be ineligible for it again – for a while – maybe for a year or two or maybe not at all – till you get another role."
Apparently, O'Quinn now believes enough time has passed since his victory. He's rejoining the derby – and going supporting. He told our forums moderator Chris "Boomer" Beachum that he's going supporting because "all roles are supporting … whatever one calls them."
"I'm happy Terry's back in the race," cheers our other forums moderator Robert "Rob L" Licuria (AwardsHeaven.net). "He's the favorite."
Boomer notes that O'Quinn lived up to his promise to step aside after winning, "but obviously decided to take one last shot since the show is going off the air. He also has somewhat of a loophole in his theory since he isn't exactly playing 'John Locke' anymore. His character technically died and that body is inhabited by a dark possibly evil character usually called the 'Man in Black.'"
Here are the opinions of two of our forum posters. MissyGal says, "Well, that solidifies that O'Quinn and Michael Emerson will land supporting nods. As this point, I can't see O'Quinn losing." Hodag129 confesses, "Mixed feelings ... This essentially kills any shot Josh Holloway had at getting a nom. There's just too many other great supporting actors I cant see Lost getting 3 noms in this category. Unless Holloway does something amazing here in the finale and gets a lot of buzz."
O'Quinn's return to the Emmy supporting race sets up a sensitive clash: He'll compete against costar Michael Emerson, who won last year. Other strong contenders include 2009 nominees Aaron Paul ("Breaking Bad") and John Slattery ("Mad Men"). Patrick Dempsey ("Grey's Anatomy") and Vincent Kartheiser ("Mad Men") are also hefty contenders plus newcomers John Goodman ("Treme"), Craig T. Nelson ("Parenthood"), Chris Noth ("The Good Wife") and Campbell Scott and Martin Short ("Damages").
Below, watch O'Quinn's appearance on "The View" in 2008 when he voiced his plan to bow out of the derby. The discussion begins about five minutes into this clip.
http://goldderby.latimes.com/awards_goldderby/2010/04/lost-abc-tv-terry-oquinn-michael-emerson-matthew-fox-news-.html
Among all of the "Lost" cliffhangers looming as the past Emmy champ as best drama series (2006) airs its final TV episodes, fans wonder: Will Terry O'Quinn (winner, supporting actor in a drama, 2007) return to the derby after bowing out last year? And, if so, will he go lead or supporting? His role as the demonic "Man in Black" during the show's final season has been so prominent that he could certainly opt to jump up to the lead race.
But several months after Terry O'Quinn won in 2007, he told viewers of "The View" that he might not leap into any Emmy race: "My view was that, when you win an Emmy for a role, you ought to be ineligible for it again – for a while – maybe for a year or two or maybe not at all – till you get another role."
Apparently, O'Quinn now believes enough time has passed since his victory. He's rejoining the derby – and going supporting. He told our forums moderator Chris "Boomer" Beachum that he's going supporting because "all roles are supporting … whatever one calls them."
"I'm happy Terry's back in the race," cheers our other forums moderator Robert "Rob L" Licuria (AwardsHeaven.net). "He's the favorite."
Boomer notes that O'Quinn lived up to his promise to step aside after winning, "but obviously decided to take one last shot since the show is going off the air. He also has somewhat of a loophole in his theory since he isn't exactly playing 'John Locke' anymore. His character technically died and that body is inhabited by a dark possibly evil character usually called the 'Man in Black.'"
Here are the opinions of two of our forum posters. MissyGal says, "Well, that solidifies that O'Quinn and Michael Emerson will land supporting nods. As this point, I can't see O'Quinn losing." Hodag129 confesses, "Mixed feelings ... This essentially kills any shot Josh Holloway had at getting a nom. There's just too many other great supporting actors I cant see Lost getting 3 noms in this category. Unless Holloway does something amazing here in the finale and gets a lot of buzz."
O'Quinn's return to the Emmy supporting race sets up a sensitive clash: He'll compete against costar Michael Emerson, who won last year. Other strong contenders include 2009 nominees Aaron Paul ("Breaking Bad") and John Slattery ("Mad Men"). Patrick Dempsey ("Grey's Anatomy") and Vincent Kartheiser ("Mad Men") are also hefty contenders plus newcomers John Goodman ("Treme"), Craig T. Nelson ("Parenthood"), Chris Noth ("The Good Wife") and Campbell Scott and Martin Short ("Damages").
Below, watch O'Quinn's appearance on "The View" in 2008 when he voiced his plan to bow out of the derby. The discussion begins about five minutes into this clip.
http://goldderby.latimes.com/awards_goldderby/2010/04/lost-abc-tv-terry-oquinn-michael-emerson-matthew-fox-news-.html
Labels:
'Lost',
John Locke,
KOS Lost Tour,
Lost,
Man in Black,
Terry O'Quinn
Saturday, April 3, 2010
ABC Press Release: “JIMMY KIMMEL LIVE” AFTER THE FINALE OF “LOST”
SUNDAY, MAY 23 ON ABC
On May 23, fans of “LOST” say goodbye to ABC’s groundbreaking series. Following the finale, the stars and producers join Jimmy Kimmel for “JIMMY KIMMEL LIVE: ALOHA TO LOST” SUNDAY, MAY 23, at 11:35 p.m. – 12:35 a.m., ET on ABC.
After the final episode, longtime “LOST” fan Jimmy Kimmel hosts an hour-long analysis of and farewell to one of television’s most beloved series with appearances from executive producers Damon Lindelof and Carlton Cuse, alternate endings, and live interviews with cast members.
“JIMMY KIMMEL LIVE: ALOHA TO LOST” is the culmination of a six year-long relationship between “LOST” and “Jimmy Kimmel Live!” Each Tuesday night, Kimmel discusses the show and features “Secrets of ‘LOST’” (comedic “insight” into the mysteries of the island from Evangeline Lilly, Michael Emerson, Jorge Garcia, Daniel Dae Kim, Elizabeth Mitchell, and more). Cast members including Matthew Fox, Evangeline Lilly, Josh Holloway, Jorge Garcia, Michael Emerson, Daniel Dae Kim, Yunjin Kim, Terry O’Quinn and former cast members Dominic Monaghan and Elizabeth Mitchell appear regularly on Kimmel’s couch and producers Lindelof, Cuse, and JJ Abrams make regular guest appearances as well.
For any fan of “LOST,” this event is not to be missed. After the secrets of the island are revealed, go back in time one last time with Jimmy Kimmel. The “LOST” finale event airs Sunday, May 23 from 9:00-11:00 p.m., ET on ABC and “JIMMY KIMMEL LIVE: ALOHA TO LOST” will air immediately after the local news at 11:35 p.m.-12:35 a.m., ET.
Jimmy Kimmel and Jill Leiderman serve as executive producers of “Jimmy Kimmel Live.” Jason Schrift and Douglas DeLuca serve as co-executive producers. “Jimmy Kimmel Live” is shot live in front of a studio audience and produced by Jackhole Industries in association with ABC Studios. For more go to www.jimmykimmellive.net
– ABC –
On May 23, fans of “LOST” say goodbye to ABC’s groundbreaking series. Following the finale, the stars and producers join Jimmy Kimmel for “JIMMY KIMMEL LIVE: ALOHA TO LOST” SUNDAY, MAY 23, at 11:35 p.m. – 12:35 a.m., ET on ABC.
After the final episode, longtime “LOST” fan Jimmy Kimmel hosts an hour-long analysis of and farewell to one of television’s most beloved series with appearances from executive producers Damon Lindelof and Carlton Cuse, alternate endings, and live interviews with cast members.
“JIMMY KIMMEL LIVE: ALOHA TO LOST” is the culmination of a six year-long relationship between “LOST” and “Jimmy Kimmel Live!” Each Tuesday night, Kimmel discusses the show and features “Secrets of ‘LOST’” (comedic “insight” into the mysteries of the island from Evangeline Lilly, Michael Emerson, Jorge Garcia, Daniel Dae Kim, Elizabeth Mitchell, and more). Cast members including Matthew Fox, Evangeline Lilly, Josh Holloway, Jorge Garcia, Michael Emerson, Daniel Dae Kim, Yunjin Kim, Terry O’Quinn and former cast members Dominic Monaghan and Elizabeth Mitchell appear regularly on Kimmel’s couch and producers Lindelof, Cuse, and JJ Abrams make regular guest appearances as well.
For any fan of “LOST,” this event is not to be missed. After the secrets of the island are revealed, go back in time one last time with Jimmy Kimmel. The “LOST” finale event airs Sunday, May 23 from 9:00-11:00 p.m., ET on ABC and “JIMMY KIMMEL LIVE: ALOHA TO LOST” will air immediately after the local news at 11:35 p.m.-12:35 a.m., ET.
Jimmy Kimmel and Jill Leiderman serve as executive producers of “Jimmy Kimmel Live.” Jason Schrift and Douglas DeLuca serve as co-executive producers. “Jimmy Kimmel Live” is shot live in front of a studio audience and produced by Jackhole Industries in association with ABC Studios. For more go to www.jimmykimmellive.net
– ABC –
Wednesday, March 31, 2010
Doc Jensen: 'Lost' recap: The Complete 'Package'
Sun and Jin get lost in translation thanks to all the Island double-speak
By Jeff Jensen Mar 31, 2010
The dream of a happy ending for Jin and Sun died in me last night. Maybe it was the dispiriting experience of watching Sun's systematic deconstruction across two different worlds in a story in which it seemed the God of all possible worlds had declared war on her. On the Island, she lost her voice — the consequence of dark magic that stripped away her English. In the Sideways reality, she was brought to the brink of losing her very life, plus the life of her unborn child, and was left to dangle there, her fate to be determined another time, in someone else's story. Maybe it was the discouraging experience of watching Jin get so easily jerked around by some very powerful, very charismatic villains who could cloud his mind by playing to his heart. On the Island, it was Charles Widmore, promising him reunion with his family and deliverance from evil. In the Sideways reality, it was Martin Keamy, who mocked his romantic ideals to his face and managed to get him to say ''thank you'' for doing so. But mostly, my despair comes from not knowing how the hell to parse the parable of the tomato, the lone living vegetable from Sun's ravaged Island garden. Is it a symbol of stubborn hope? Or is it just a symbol of stubbornness? Is it a symbol of valentine red love? Or is it a symbol of blinding red rage? Do Jin and Sun need to learn to hold on to their dreams at all cost — or do they need to learn to let go lest those dreams damn their individual souls? Damn inscrutable tomato! Thou doest vex me!
This is all to say that for anyone who came to ''The Package'' to see the long-awaited reunion of Lost's long-separated husband and wife, it didn't happen. What ''The Package'' gave us instead was a Pandora's Box packed with paranoia, suspicion, squabbling and discord, plus a fiendish father figure or two. Or three. It was also an episode that communed ironically with one of my favorite season 1 outings, the Jin/Sun gem ''... In Translation.'' I enjoyed the episode's scope and energy. For the first time since the premiere, every single character was represented and all the major storylines were nurtured. ''The Package'' may not have advanced the plot of season 6 enough for some people, but it was plenty riveting for me. And it left me filled with dread that some seriously nasty heartbreaking big-time s--- is about to hit the fan. And hey! Desmond's back! Just in time for things to all go to hell, too...
The Sideways World
To Live and Die in L.A.
Jin-Soo Kwon. Peasant son of a poor fisherman and prostitute, ashamed of his poverty and his heritage. He dreamed of owning a hotel and restaurant. Instead, he fell in love with a criminal industrialist's daughter and became one of his goons to prove himself a worthy son-in-law. When he realized the cost of violence to his soul, Jin sought out his real father and begged forgiveness for rejecting him. His father, who had never stopped loving him, gave Jin some advice. Save your marriage. Take your wife and run away and start over in a new world. Jin resolved to do just that — right after he delivered two watches for Mr. Paik. One needed to go to Sydney, the other one needed to go to Los Angeles...
Sun-Hwa Kwon. She wanted to run away with the poor peasant with big dreams because she was sure her father wouldn't allow them to be married. Mr. Paik surprised her by giving his blessing — then crushed her when he began making Jin do goon work for him. With the marriage becoming increasingly troubled, Sun began taking English lessons as part of a plan to escape to America. In the process, she began an affair with her tutor, a former suitor named Jae Lee. When Papa Paik learned of her dishonorable infidelity, he had Jae tossed out a window. Now Sun wanted to run more than ever. But then Jin gave her a white rose, and Sun remembered why she loved him, and she found new reason to hope. She joined him on the Oceanic 815 flight to Los Angeles, not knowing the happily ever after he had planned for her there once they arrived...
''The Package'' took elements of the combined Jin/Sun narrative and scrambled them into a provocative, ironic new history for their Sideways counterparts. We met them as we left them in the season premiere. Jin — a Paik goon, still on a mission to deliver a watch in Los Angeles — had been detained at LAX after customs found $25,000 in undeclared cash in his suitcase. Sun was deer-in-the-headlights stunned. Had Jin packed the cash to bankroll a new life for Sun and himself in America? Could Sun speak English? And was the conspicuously identified ''Ms. Paik'' even married to Jin? ''The Package'' contained answers. The money was a late addition to the package Jin had to deliver to Mr. Paik's L.A. associates, Sun didn't know a lick of English, and while they were lovers, Jin made their marital status abundantly clear when he clarified they were to have separate rooms. ''No marry!'' he said, pointing to his bare ring finger.
Not that Jin was some hyper-traditional moralist like his pre-reconstructed Island world doppelganger. This Jin was just being hyper-diligent about keeping the secret of their illicit love. In this world, Jin and Sun were carrying on in private, as Sideways Paik had a rule barring employees from playing footsie with his precocious little princess. (All of this lent retroactive irony to Jin's earlier line: ''I don't ask your father questions. I do what he tells me.'') But my guess is that Sun instigated. Quite the assertive young woman, this deceptively doe-eyed sweetie! At the hotel, she invited him into her room and teased him for his paranoia (''Nobody is watching us,'' she cooed, her line ringing ironic in an episode in which everyone got in everyone else's business), then mock-scolded Jin for scolding her about that unbuttoned blouse on the plane. She reminded him of the moment by unbuttoning the button. Then another. Then another. She asked: Did he like? Jin, a Paik buttonman in more ways than one, liked very much...
They had sex, the kind of sex that's so good that it puts girls to sleep and keeps guys up worrying about What It All Means. (Was it just me, or did you get the sense that Sun was more of the dude in this relationship and Jin more of the chick? In fact, I found myself wondering if Jin wasn't the first Paik bagman she had bagged...) Big twist: Sideways Sun, romantic and yearning for freedom, had come to L.A. with Island Jin's run-away-from-Paik plan. She didn't have the English to make her way in the New World, but she did have a secret bank account stocked with cash. Jin said: I'll run away with you.'' Jin said: ''I love you.'' Sun didn't say it back. (Scoundrel!) Instead, she started to say, ''That's good, because there's something I have to — '' and then there was a knock on the door.
character to be given a long, lingering encounter with their looking-glass self. She answered the door. It was Martin Keamy, the creepy crook with the Mayan death-god last name and the Christopher Walken disposition. (In the Island world, he led the mercenaries employed by Charles Widmore to abduct Ben and torch the Island in season 4.) In ''Sundown,'' whose title now stands as ominous foreshadowing of Sideways' Sun's fate, we saw Sayid shoot Keamy dead in the kitchen of his restaurant and then find Jin tied up in the freezer. In ''The Package,'' we saw what brought both Keamy and Jin to that fateful junction — and what happened afterward.
Keamy entered Sun's room, oozing fake politeness. He identified himself as the intended recipient of Jin's delivery. He wanted it. Sun understood Keamy enough to hand over the watch. He liked it enough — but he wanted the $25,000 more. There was another knock on the door. It was Omar, Keamy's all business henchman. (In the Island world, Omar was a member of Keamy's mercenary crew, too.) Omar searched Jin's room and couldn't find the cash. Keamy saw the two champagne glasses and ruffled bed, put some things together, and soon Jin was rousted out of the bathroom. Where was the money? The Koreans could not understand and talked amongst themselves about what to do. The language barrier exasperated Keamy: ''I feel like I'm in a Godzilla movie.'' Offensive and factually inaccurate! (Personally, I got a whole Pulp Fiction vibe from this subplot. But I won't digress....)
Keamy had an idea. They would call in ''Danny's friend'' (Sideways version of Danny the dead Other, maybe?) The Russian who knew all the languages. The man known as Mikhail Bakunin.
Begin Mikhail Bakunin Mini-Dossier!
You knew him better as Patchy the Other. Man of many tongues and man of many lives. He seemed to die a couple deaths before detonating the grenade that blew a hole in the Looking Glass Station, precipitating Charlie's watery death sacrifice. Lost's Mikhail Bakunin is named after the historical Mikhail Bakunin, a philosopher and anarchist who believed in non-violent revolution and the abolishment of all government and religion. Leadership, if any, should come from an enlightened elite that benevolently and invisibly guided the masses. Famous sayings: ''Absolute freedom and absolute love — that is our aim; the freeing of humanity and the whole world — that is our purpose''; ''The idea of God implies the abdication of human reason and justice; it is the most decisive negation of human liberty, and necessarily ends in the enslavement of mankind, in theory and practice''; and ''If God really existed, it would be necessary to abolish Him.'' Basically, the real-life Mikhail Bakunin would have admired Jacob's kinda-sorta hands-off approach to human redemption and moral freedom — but he'd want Smokey to kill him, anyway. And then he'd want Smokey to kill himself and leave all of us alone.
Sideways Mikhail, who began the episode with two functioning eyes, behaved like a finely-heeled diplomat as he dutifully translated the Jin/Sun Korean. Sun explained she had money. She said she could get Keamy the money he wanted. Keamy said: Do that — but I'm keeping Jin as collateral. Then came the revelation that kicked Sun right in her nads. She was no rebel of the heart, no anarchist of the soul revolting against her father's tyrannical authority in pursuit of absolute freedom and absolute love. She was still very much his property and puppet. She was still owned. Darth Paik knew all about the princess' precious little rebellion and had quashed it before she had even launched it by taking away her secret weapon: her money. Sun was stunned. ''Why would he do that?'' Mikhail was cruel. ''Why do you think, dumbass?!'' (Note: The dumbass was silent and implied.)
Meanwhile, at Keamy's restaurant, aka Hell's Kitchen, we got a scene marked by a conspicuously perverse use of language. Omar hauled Jin into the cooler, but as he did, Jin's head banged against the steel door, making a gash. When we saw bound Jin sporting that cut in ''Sundown,'' we assumed torture. Wrong! It was just a party foul! Serves us right for assuming. Still, Keamy was upset with Omar for his sloppy attention to detail and banished his associate by ordering him to ''go get the Arab guy.'' (That would be Sayid.) Omar felt dissed by Keamy's casual racism, objectification, and Otherification. (Keamy had lauded Omar for his loyalty; I wondered why Omar would remain loyal to someone who made him feel so worthless.) Then, Keamy messed with Jin's mind by doing a very mean thing: He told him the truth, but in English, so Jin could never understand. He told Jin he had been hired by Mr. Paik to kill Jin for fooling around with his daughter. He told Jin that the money Jin had brought into the country was actually payment for the hit. Ice cold! Keamy's words said one thing — I'm going to kill you when I get my money — but his sympathetic tone was calibrated to say the exact opposite. He took fiendish delight with his knowing doublespeak, no more so than with his line ''the heart wants what it wants.'' Jin probably thought Keamy was trying to speak the universal language of love, that Keamy, like, understood him or something. Actually, Keamy was no doubt again indulging his unique brand of racially charged humor, as ''the heart wants what it the heart wants'' is most famous for being Woody Allen's infamous defense for cheating on his wife, Mia Farrow, with the actress' Korean adopted daughter, Soon-Yi Previn.
Jin's lost-in-translation response to all this? ''Thank you.'' Keamy just smirked and shook his head at Jin's total cluelessness. But he had achieved the intended effect of keeping Jin docile, pliant and agreeably quiet as he took care of business with ''the Arab guy.'' In other words, Keamy's brainwashing cooler in Los Angeles = the Room 23 brainwashing room on Hydra Island, which we visited during Island Jin's storyline. We'll get to that later, but let's note here that the only other time we saw Room 23 in use was when Karl was being punished by Ben for... dating his daughter Alex. Sideways Jin + Sun = Island Karl and Alex, both of whom were shot and killed by... Island Keamy and Omar.
FYI: During the Jin-Keamy scene, Jin got his own mirror moment, his image reflected in the steel of a freezer — but Jin didn't notice. Significant? Debate.
Then Sayid happened. Jin thought he had been liberated — deus ex assassina. But Sayid didn't really care, and told him so. Sayid turned to leave. Jin protested. Free me! Sayid spotted a box cutter and placed it in his palms. ''Good luck,'' said Sayid, the shruggy hero. Free yourself, comrade. I am otherwise indifferent to you. Now, I must go to my Ayn Rand book club. Ciao, Stranger. It was the most this Good Samaritan felt obligated to do.
While Jin cut through the tape, Mikhail arrived with Sun. They found a kitchen nightmare that would make even Gordon Ramsay curl up in a ball. Mikhail crouched down to examine Keamy. Interesting: Keamy was a still alive. And he was strong enough to tell Mikhail that there was a Korean guy behind him with gun to his head. Mikhail — who shrewdly deduced that Jin was incapable of the carnage around him but concluded perhaps incorrectly that Jin was no killer — smiled an angel-of-death smile and snapped into killing-machine mode. He spun away from the gun and they fought. The gun discharged twice. Jin — whose Island iteration had kicked Patchy's ass in ''Catch-22'' — got some distance on Mikhail and proved him wrong about his killer's gumption by popping a cap in Bakunin's eyeball. Ouch. Mikhail died one eye blind, Battleship Potemkin by way of Moe Green. Do svidaniya, Russian guy.
Had Jin escaped from evil? Yes. But Sun had been touched by it, perhaps fatally. One if not two of those discharged bullets blasted into her abdomen, threatening her own precious package. ''I'm pregnant,'' she told Jin, finishing the thought that had been interrupted by Keamy's fateful arrival into their lives earlier that afternoon. We left the lovers lost in Los Angeles, one them dying, the whole of their love imperiled. Cliffhanger. Paging Dr. Jack Shephard! Paging Dr. Jack Shephard! Stop picking Sun's Island tomatoes and report to your Sideways ER, stat!
This Island Earth!
Land of Confusion
In the Sideways world, Jin and Sun were at the mercy of those whose language they didn't understand. On the Island, their plight was slightly worse: They understood, but they couldn't discern the sincerity. If there was a sign that hung on the gates of this epistemological inferno, it should read: ''Trust no one — even someone you think might be telling you the truth.'' This wasn't just a Jin/Sun problem in ''The Package'' — this was everyone's problem. The theme was perhaps best articulated in the exchange between Ilana and Ben, whom she suspected of being deceitful. Ben: ''Why don't you believe me?'' Ilana: ''Because you're speaking.'' (Ilana may have been willing to take Ben into her company back in ''Dr. Linus,'' but she's clearly not yet ready to trust him.) And now we know why Dogen and the Man In Black advocate the policy of ''stab and kill with the weird ceremonial knife first, ask questions later.''
To me, ''The Package'' seemed to mark the true start of the Island endgame. Said contest will boil down to a competition among storytellers, long-conners, and unreliable narrators for the hearts, minds, and trust of the castaways/candidates. Whom to believe? Right now, the matter seems to be undecided. The episode itself mirrored that uncertainty with its very first scene. The opening shot — seen through night vision goggles — evoked the surveillance cinematography of reality shows like Survivor, Big Brother, and of course that mega-hit Dating In The Dark. (I will also accept the film Paranormal Activity.) We saw and heard Kate and Sawyer talk about faux cocoa. Then we saw Fake Locke stroll through his camp twirling his big stick — and then the shot broke off, as if Spooky Smokey's unreal visage had short-circuited the equipment. It was a very un-Lost bit of storytelling. Opening an episode on an eyeball fluttering awake? Yes. Seeing the world through an eyeball? No. I found the effect rather disorienting, which I think was the intention. Who's in control? Who's running the show? Whose vision will win out on Master Plan Island?
chats. First up: Fake Locke and Jin. Topic: Had Jin been informed of the whole numbered candidate thing? Yep. But was ''42'' Sun or himself? Unclear. But either way, Fake Locke vowed to reunite Jin with his wife. He also told Jin the tall tale that in order for everyone to get off the Island, all the living candidates had to join them. What he didn't tell Jin was what we learned last week about the Monster's true mission. In order to be free from the Island, he has to kill not only Jacob, but also all the candidates eligible to replace him. We'll be analyzing Fake Locke's actions from that perspective until we're given reason to do otherwise.
Next, His Royal Smokeyness talked with Sayid. Fake Locke wanted Sayid to watch his peeps while he went on a hush-hush errand. But all Sayid wanted to talk about was his feelings — or rather, his lack of feeling. He confessed that he felt profoundly numb. Actually, Sayid sounded like he was... dead. ''I don't feel anything. Anger, happiness, pain... I don't feel them.'' (Philosophy professors! Feel free to use this scene when you teach the concept of ''The Philosophical Zombie.'') Fake Locke's response was a mysterious as it was chilling. ''Maybe it's for the best, Sayid. It'll help you get through what's coming.'' I have to think that Fake Locke was flicking at his plan to somehow get Sayid killed, an experience which for a normal person would no doubt involve some pain and anger. But how do we explain Sayid's numbness? My theory of the week is that we're dealing with the controversial theological concept of ''soul sleep,'' the idea that the soul dies with the body, or at least falls into a slumber and doesn't awaken until Judgment Day. It would be fitting that this idea is embodied by Sayid, as the concept originated with a third century Christian sect called the Thnetopsychitae, based in Arabia. The concept later morphed into the word psychopannychia, or mind-soul/all night vigil. Wasn't Sayid singled out as ''an Arab'' in the episode? And didn't Fake Locke tell Sayid to stand vigil during the night while he was away? See? Soul sleep!
With Fake Locke gone, Jin tried to leave. He didn't care what Fake Locke was promising him, he wanted nothing to do with ''that thing.'' Sawyer tried to stop him from doing something rash. And then they were all stopped dead in their tracks. Taser/tranq/something darts plunged into necks of everyone at Camp Locke. They passed out, WIdmore's people, led by Zoe, swooped in and abducted Jin, and the game was afoot.
Meanwhile, it was just another day at the beach for Team Ilana. Which is to say, more milling around and mulling what they need to be doing. Was Richard coming back after stomping away from them last episode? Was he really going to join the Man In Black? Ilana advised them — or maybe more like ordered them — to sit tight and wait. Which was the last thing Sun wanted to hear. She had spent three years scrambling to get Jin back. She wanted to keep pushing toward that goal. To stop and to sit and to wait was anathema to her. Of course, it might also mean that she'd have to stop and reflect and think about her choices, maybe take responsibility for her emotional life and accept that things do change — wait. How did those thoughts sneak into this piece!? Damn that Room 23 and its subliminal messages! Anyway, Sun flipped. She stormed off to her refuge, her garden o' busy work, which fortunately offered her a great deal of mind-numbing manual labor to do since it had gone to weedy pot during her three years away from the Island. Jack showed up and wanted to know if Sun wanted to talk about destiny and stuff. No! Get out! Leave me to my pity party! And so he did.
Man put on his friendliest air and made her one of his devilish bargains. Join me, and I can reunite you with Jin immediately. Sun gulped again. She couldn't trust the counterfeit human, this unnatural entity, this inorganic veggie of a man, and so she made like Kate and ran. UnLocke got pissy and ran after her — on foot. Why didn't he convert into a raging column of smoke and blow past her? Hmmm... Sun looked back. Oops. You never look back when you're running from the devil (see: Persephone and Hades), and Sun smacked into a low-hanging tree limb, earning her a forehead owie to match the one her Sideways soulmate got from the cooler door. Matching ouchies! How romantic...
Sun's head trauma was much worse, of course. As she regained consciousness in the company of recovering rogue Ben, Sun realized she had lost her English and could only speak Korean. (The irony: Ben, the man she once tried to kill, now playing the role of her Good Samaritan. Ben's redemption arc continues!) Doc Shephard diagnosed her with aphasia; I diagnosed her with Genesis 11. The story of the Tower of Babel goes something like this: Once upon a time, there was a city unified by culture, language, and audacious human ambition: to build a tower that could reach heaven. God was alarmed by humanity's outsized hubris and decided to humble them — and divide them up — by ''confusing their speech,'' i.e. igniting an outbreak of foreign tongues. The denizens of the city dispersed into separate communities, cultures, and nations. Hence, The Bible's mythic explanation for a world of difference and Otherness. However, different religious traditions tell slightly different versions of the story. In the Kabbalah version, for example, the Tower of Babel isn't a tower at all — it's a giant flying machine.
The relevancy to Lost? It's all about Fake Locke's plan to get the candidates killed. Remember last episode that Richard had a spiritual revival in the Island's Garden of Eden, underneath a massive Kabbalah-esque Tree of Life. Remember that Fake Locke witnessed that moment. Clearly, he knew Richard would be returning to the beach with a new sense of mission — a mission that I'm now beginning to wonder if Fake Locke/Man In Black gave him. A number of you last week speculated that when Isabella was speaking to Richard via Hurley, she was being controlled by — or was a manifestation of — Smokey. I didn't want to believe that at the time, but I find myself believing in it now. Consider what Richard said when got back to the beach last night. He surmised that Fake Locke plans to flee the Island via a giant flying machine — the Ajira plane. The mission: Blow up the plane. My thinking? Fake Locke is basically running the same con that Sawyer's been trying to run on him. He's trying to bait Team Richard into making a move on Ajira so Charles Widmore will kill them. A more dastardly thought: Smokey is conspiring to get everyone onto that plane — specifically the candidates from his group plus the candidates from Richard's group — in hopes that Widmore will blow it out of the sky. So why take away Sun's speech? Because after she declined his offer, he knew she'd try to talk her friends out the plan — which she did try to do. Either that, or Fake Locke wasn't thinking short term at all by taking away Sun's English, but rather was planting a seed designed that will bare him fruit down the road when Team Richard executes its plan. In other words: Look for Sun's loss of English to prove costly at a pivotal point in Operation: Ajirasplosion.
on Lost in which a character mysteriously lost the ability to communicate verbally. The episode was ''Further Instructions,'' and the victim was Locke himself. The Island had taken away his speech in the aftermath of the Hatch explosion as a kind of punishment for his big season 2 sin: Straying from his Island mission and becoming obsessed with pushing the Button, abandoning the natural world of jungle for the unnatural environs of The Hatch. Stripping Locke of his speech was part of the Island's way of dressing down its unfaithful servant and reminding him of who he was and what he was supposed to being doing. Perhaps Sun was stripped of her English for similar reasons. After all, she learned the language in order to run away from Jin. Moreover, she learned it from a man that became her lover. Sun's English had once saved her husband from the false charge of setting fire to the raft. It helped her build bridges with the castaways. Otherwise, her English must be something of a bitter talent. To use a phrase from Dogen, she must ''hate the way it tastes on her tongue.'' Regardless, she doesn't need it anymore. Her future is in Korea, with her husband, with her daughter, and with a mother and father that need her forgiveness. So maybe losing her English wasn't a psychic assault. Maybe it was a movement of the Island to reminder her of who she is — and what she needs redemption for.
All this said, I think her outburst at Richard was the most telling — and possibly worrisome — development of the evening when it came to Sun. She blasted him for wanting to blow up what had been her escape plan: Find Jin, get Frank Lapidus to fly them off the Island. Moreover, she didn't want to ''save the world.'' She just wanted her lover back! On one hand, you could say it provided her with a much-needed opportunity for catharsis. On the other hand, it betrayed just how tightly she holds onto her past and her dreams of happiness, and the ideals she might sell out to make them come true. We've seen throughout the season that people who cling too tightly to dreams, who have an almost idolatrous relationship to their dreams — Claire and Aaron/motherhood; Sayid and Nadia/true love — they become easy to manipulate, easy to corrupt. Jack gave her the gift of a tomato. He found it in her dead garden, stubbornly clinging to life. I think Jack offered it to her as a symbol of hope in a moment in which she sorely needed it. Okay. But you could also view it as a symbol of... well, stubbornness. Of not knowing when to quit. Of not knowing when to let go. Does Sun need to learn these lessons? Maybe. But she should definitely be thinking about them instead of running away from them. Which is why the gift of the notebook was a gift indeed, for the work it will require will force her to reflect. ''It'll take you a little longer to get your point across,'' he said, ''but at least you have your voice back.'' (I just wish he hadn't made her that promise to get her back with Jin and get them off the Island. Yes, I'm sure he wants to atone for being partially responsible for separating Jin and Sun in the first place. But I'm not sure this recovering fixer is ready to be making messianic promises like that.) (Regardless, English kinda took a beating this week, didn't it? I want all you budding Noam Chomskies out there to write me a 10,000-word research paper on English as a metaphor for a corrupt culture that requires salvation from sophistry and renewed commitment to meaning. Be sure you cite things like ''memes,'' ''spin doctoring,'' ''Swift Boat,'' ''crisis management,'' and Stephen Colbert's philosophy of ''truthiness.'')
to his camp and found his peeps recovering from Team Zoe's taser attack. He was smokin' mad. As he later told Sawyer, ''I don't like surprises.'' It was interesting to see that Smokey wasn't omnipotent and omniscient as he sometimes appears to be... though again, I continue to wonder how much of the persona he presents to the castaways and how much of the information he gives them about himself is but a long con designed to lead them to wrong conclusions about his master plan and poor estimations about his ability and power. For now, let's say he was genuinely unnerved by the sneak attack. And he wasn't about to let the indignity stand. He zipped over to Hydra Island and casually strolled the beach, drawing fire from the spooked Widmore goons hiding behind the sonic fence. Widmore himself emerged from the brush and the two hair-challenged fiends had a summit. FLocke said that yes, he knew who Widmore was. Did Widmore know who Fake Locke was? ''Obviously you're not John Locke,'' he said. ''Everything else I know is a combination of myth, ghost stories and jungle stories in the night.'' Fake Locke eyeballed the sonic fences and called him out: Clearly Widmore knew a little more about The Monster if he knew to make use of the pylons. Pulling from the memory of John Locke, FLocke threw some of Wilmore's own words back at him. ''A wise man once said, ‘War is coming to this island.' I think it just got here.'' Question: Was Fake Locke talking about Widmore — or himself?
Charles Widmore had one thing in common with Fake Locke: both experienced complications in their master plans. We learned that Zoe had jumped the gun when she abducted Jin from the beach. Widmore fumed. Zoe retorted: ''Well maybe you should have put a mercenary in charge instead of a geophysicist.'' And why would Widmore need a geophysicist playing point guard for his newest Island incursion team? The answer fed the mystery of Wilmore's true intentions. Zoe's job is to locate one or more hotspots of electromagnetic energy on the Island. The reason why they needed Jin (sooner or later) was because he had apparently mapped those hotspots during his days in the Dharma Initiative. What might Widmore be looking for? Frozen Donkey Wheel? The Temple's resurrection hot spring? New Mythological Landmark TBD? Regardless, I stick to my long held theory of Wilmore's motivations: the quest for eternal life. (P.S.: Is Sheila Kelly working for you as Zoe? My guess is no. Me? Meh.)
send them home. Jin could get behind both those ideas. Widmore sealed the deal on procuring Jin's loyalty by giving him Sun's camera, which Wilmore's peeps had found on the Ajira plane. Jin choked back on tears as he saw for the first time his daughter, Ji-Yeon. I thought, Well played, Mr. Widmore. Well played. Maybe all his empathetic talk about also being a father who's suffering through separation and estrangement from his daughter was sincere. But I'm not buying it. The proof came in the form of the ace in the hole of his Island campaign: ''The Package.'' Not a what, Widmore said. A who. By episode's end, we were led to believe that who to be Desmond Hume. We saw him get hauled out of the sub, weak and sickly and trailing strings of IV tubing. Sayid saw him, too. Tasked by Fake Locke to finish the recon Sawyer couldn't complete a couple episodes ago, Sayid floated like a killer croc in the water as Desmond stumbled and fell and made eye contact with him. Hopefully we'll soon see what makes Desmond so ''special'' and why Widmore has always wanted on the Island. Whatever it is, it can't be good. Which means that Desmond has one thing in common with Sideways Jin: they both have fathers-in-law that want them dead.
Stuff we didn't talk about: How Mr. Paik's bid to block Sun's escape plan = the Jacob/Team Richard bid to block the Man In Black's escape plan; Sawyer sweating the viability of his own escape plan; Fake Locke's manipulation of Claire and plan to pit her against Kate; the return of Room 23; and whether or not you, too, are wondering if Desmond Hume might actually be Sideways Desmond Hume. But my time has run out, and you deserve a chance to talk back. Check out the new episode of ''Totally Lost,'' a four-part epic graced by the presence of Titus Welliver (the Man In Black) and some choice clips from the original Clash of the Titans. I'll be back on Friday with a new column. Namaste!
http://www.ew.com/ew/article/0,,20313460_20355953,00.html?ew_packageID=20313460?xid=email-alert-lost-20100331-item1
By Jeff Jensen Mar 31, 2010
The dream of a happy ending for Jin and Sun died in me last night. Maybe it was the dispiriting experience of watching Sun's systematic deconstruction across two different worlds in a story in which it seemed the God of all possible worlds had declared war on her. On the Island, she lost her voice — the consequence of dark magic that stripped away her English. In the Sideways reality, she was brought to the brink of losing her very life, plus the life of her unborn child, and was left to dangle there, her fate to be determined another time, in someone else's story. Maybe it was the discouraging experience of watching Jin get so easily jerked around by some very powerful, very charismatic villains who could cloud his mind by playing to his heart. On the Island, it was Charles Widmore, promising him reunion with his family and deliverance from evil. In the Sideways reality, it was Martin Keamy, who mocked his romantic ideals to his face and managed to get him to say ''thank you'' for doing so. But mostly, my despair comes from not knowing how the hell to parse the parable of the tomato, the lone living vegetable from Sun's ravaged Island garden. Is it a symbol of stubborn hope? Or is it just a symbol of stubbornness? Is it a symbol of valentine red love? Or is it a symbol of blinding red rage? Do Jin and Sun need to learn to hold on to their dreams at all cost — or do they need to learn to let go lest those dreams damn their individual souls? Damn inscrutable tomato! Thou doest vex me!
This is all to say that for anyone who came to ''The Package'' to see the long-awaited reunion of Lost's long-separated husband and wife, it didn't happen. What ''The Package'' gave us instead was a Pandora's Box packed with paranoia, suspicion, squabbling and discord, plus a fiendish father figure or two. Or three. It was also an episode that communed ironically with one of my favorite season 1 outings, the Jin/Sun gem ''... In Translation.'' I enjoyed the episode's scope and energy. For the first time since the premiere, every single character was represented and all the major storylines were nurtured. ''The Package'' may not have advanced the plot of season 6 enough for some people, but it was plenty riveting for me. And it left me filled with dread that some seriously nasty heartbreaking big-time s--- is about to hit the fan. And hey! Desmond's back! Just in time for things to all go to hell, too...
The Sideways World
To Live and Die in L.A.
Jin-Soo Kwon. Peasant son of a poor fisherman and prostitute, ashamed of his poverty and his heritage. He dreamed of owning a hotel and restaurant. Instead, he fell in love with a criminal industrialist's daughter and became one of his goons to prove himself a worthy son-in-law. When he realized the cost of violence to his soul, Jin sought out his real father and begged forgiveness for rejecting him. His father, who had never stopped loving him, gave Jin some advice. Save your marriage. Take your wife and run away and start over in a new world. Jin resolved to do just that — right after he delivered two watches for Mr. Paik. One needed to go to Sydney, the other one needed to go to Los Angeles...
Sun-Hwa Kwon. She wanted to run away with the poor peasant with big dreams because she was sure her father wouldn't allow them to be married. Mr. Paik surprised her by giving his blessing — then crushed her when he began making Jin do goon work for him. With the marriage becoming increasingly troubled, Sun began taking English lessons as part of a plan to escape to America. In the process, she began an affair with her tutor, a former suitor named Jae Lee. When Papa Paik learned of her dishonorable infidelity, he had Jae tossed out a window. Now Sun wanted to run more than ever. But then Jin gave her a white rose, and Sun remembered why she loved him, and she found new reason to hope. She joined him on the Oceanic 815 flight to Los Angeles, not knowing the happily ever after he had planned for her there once they arrived...
''The Package'' took elements of the combined Jin/Sun narrative and scrambled them into a provocative, ironic new history for their Sideways counterparts. We met them as we left them in the season premiere. Jin — a Paik goon, still on a mission to deliver a watch in Los Angeles — had been detained at LAX after customs found $25,000 in undeclared cash in his suitcase. Sun was deer-in-the-headlights stunned. Had Jin packed the cash to bankroll a new life for Sun and himself in America? Could Sun speak English? And was the conspicuously identified ''Ms. Paik'' even married to Jin? ''The Package'' contained answers. The money was a late addition to the package Jin had to deliver to Mr. Paik's L.A. associates, Sun didn't know a lick of English, and while they were lovers, Jin made their marital status abundantly clear when he clarified they were to have separate rooms. ''No marry!'' he said, pointing to his bare ring finger.
Not that Jin was some hyper-traditional moralist like his pre-reconstructed Island world doppelganger. This Jin was just being hyper-diligent about keeping the secret of their illicit love. In this world, Jin and Sun were carrying on in private, as Sideways Paik had a rule barring employees from playing footsie with his precocious little princess. (All of this lent retroactive irony to Jin's earlier line: ''I don't ask your father questions. I do what he tells me.'') But my guess is that Sun instigated. Quite the assertive young woman, this deceptively doe-eyed sweetie! At the hotel, she invited him into her room and teased him for his paranoia (''Nobody is watching us,'' she cooed, her line ringing ironic in an episode in which everyone got in everyone else's business), then mock-scolded Jin for scolding her about that unbuttoned blouse on the plane. She reminded him of the moment by unbuttoning the button. Then another. Then another. She asked: Did he like? Jin, a Paik buttonman in more ways than one, liked very much...
They had sex, the kind of sex that's so good that it puts girls to sleep and keeps guys up worrying about What It All Means. (Was it just me, or did you get the sense that Sun was more of the dude in this relationship and Jin more of the chick? In fact, I found myself wondering if Jin wasn't the first Paik bagman she had bagged...) Big twist: Sideways Sun, romantic and yearning for freedom, had come to L.A. with Island Jin's run-away-from-Paik plan. She didn't have the English to make her way in the New World, but she did have a secret bank account stocked with cash. Jin said: I'll run away with you.'' Jin said: ''I love you.'' Sun didn't say it back. (Scoundrel!) Instead, she started to say, ''That's good, because there's something I have to — '' and then there was a knock on the door.
character to be given a long, lingering encounter with their looking-glass self. She answered the door. It was Martin Keamy, the creepy crook with the Mayan death-god last name and the Christopher Walken disposition. (In the Island world, he led the mercenaries employed by Charles Widmore to abduct Ben and torch the Island in season 4.) In ''Sundown,'' whose title now stands as ominous foreshadowing of Sideways' Sun's fate, we saw Sayid shoot Keamy dead in the kitchen of his restaurant and then find Jin tied up in the freezer. In ''The Package,'' we saw what brought both Keamy and Jin to that fateful junction — and what happened afterward.
Keamy entered Sun's room, oozing fake politeness. He identified himself as the intended recipient of Jin's delivery. He wanted it. Sun understood Keamy enough to hand over the watch. He liked it enough — but he wanted the $25,000 more. There was another knock on the door. It was Omar, Keamy's all business henchman. (In the Island world, Omar was a member of Keamy's mercenary crew, too.) Omar searched Jin's room and couldn't find the cash. Keamy saw the two champagne glasses and ruffled bed, put some things together, and soon Jin was rousted out of the bathroom. Where was the money? The Koreans could not understand and talked amongst themselves about what to do. The language barrier exasperated Keamy: ''I feel like I'm in a Godzilla movie.'' Offensive and factually inaccurate! (Personally, I got a whole Pulp Fiction vibe from this subplot. But I won't digress....)
Keamy had an idea. They would call in ''Danny's friend'' (Sideways version of Danny the dead Other, maybe?) The Russian who knew all the languages. The man known as Mikhail Bakunin.
Begin Mikhail Bakunin Mini-Dossier!
You knew him better as Patchy the Other. Man of many tongues and man of many lives. He seemed to die a couple deaths before detonating the grenade that blew a hole in the Looking Glass Station, precipitating Charlie's watery death sacrifice. Lost's Mikhail Bakunin is named after the historical Mikhail Bakunin, a philosopher and anarchist who believed in non-violent revolution and the abolishment of all government and religion. Leadership, if any, should come from an enlightened elite that benevolently and invisibly guided the masses. Famous sayings: ''Absolute freedom and absolute love — that is our aim; the freeing of humanity and the whole world — that is our purpose''; ''The idea of God implies the abdication of human reason and justice; it is the most decisive negation of human liberty, and necessarily ends in the enslavement of mankind, in theory and practice''; and ''If God really existed, it would be necessary to abolish Him.'' Basically, the real-life Mikhail Bakunin would have admired Jacob's kinda-sorta hands-off approach to human redemption and moral freedom — but he'd want Smokey to kill him, anyway. And then he'd want Smokey to kill himself and leave all of us alone.
Sideways Mikhail, who began the episode with two functioning eyes, behaved like a finely-heeled diplomat as he dutifully translated the Jin/Sun Korean. Sun explained she had money. She said she could get Keamy the money he wanted. Keamy said: Do that — but I'm keeping Jin as collateral. Then came the revelation that kicked Sun right in her nads. She was no rebel of the heart, no anarchist of the soul revolting against her father's tyrannical authority in pursuit of absolute freedom and absolute love. She was still very much his property and puppet. She was still owned. Darth Paik knew all about the princess' precious little rebellion and had quashed it before she had even launched it by taking away her secret weapon: her money. Sun was stunned. ''Why would he do that?'' Mikhail was cruel. ''Why do you think, dumbass?!'' (Note: The dumbass was silent and implied.)
Meanwhile, at Keamy's restaurant, aka Hell's Kitchen, we got a scene marked by a conspicuously perverse use of language. Omar hauled Jin into the cooler, but as he did, Jin's head banged against the steel door, making a gash. When we saw bound Jin sporting that cut in ''Sundown,'' we assumed torture. Wrong! It was just a party foul! Serves us right for assuming. Still, Keamy was upset with Omar for his sloppy attention to detail and banished his associate by ordering him to ''go get the Arab guy.'' (That would be Sayid.) Omar felt dissed by Keamy's casual racism, objectification, and Otherification. (Keamy had lauded Omar for his loyalty; I wondered why Omar would remain loyal to someone who made him feel so worthless.) Then, Keamy messed with Jin's mind by doing a very mean thing: He told him the truth, but in English, so Jin could never understand. He told Jin he had been hired by Mr. Paik to kill Jin for fooling around with his daughter. He told Jin that the money Jin had brought into the country was actually payment for the hit. Ice cold! Keamy's words said one thing — I'm going to kill you when I get my money — but his sympathetic tone was calibrated to say the exact opposite. He took fiendish delight with his knowing doublespeak, no more so than with his line ''the heart wants what it wants.'' Jin probably thought Keamy was trying to speak the universal language of love, that Keamy, like, understood him or something. Actually, Keamy was no doubt again indulging his unique brand of racially charged humor, as ''the heart wants what it the heart wants'' is most famous for being Woody Allen's infamous defense for cheating on his wife, Mia Farrow, with the actress' Korean adopted daughter, Soon-Yi Previn.
Jin's lost-in-translation response to all this? ''Thank you.'' Keamy just smirked and shook his head at Jin's total cluelessness. But he had achieved the intended effect of keeping Jin docile, pliant and agreeably quiet as he took care of business with ''the Arab guy.'' In other words, Keamy's brainwashing cooler in Los Angeles = the Room 23 brainwashing room on Hydra Island, which we visited during Island Jin's storyline. We'll get to that later, but let's note here that the only other time we saw Room 23 in use was when Karl was being punished by Ben for... dating his daughter Alex. Sideways Jin + Sun = Island Karl and Alex, both of whom were shot and killed by... Island Keamy and Omar.
FYI: During the Jin-Keamy scene, Jin got his own mirror moment, his image reflected in the steel of a freezer — but Jin didn't notice. Significant? Debate.
Then Sayid happened. Jin thought he had been liberated — deus ex assassina. But Sayid didn't really care, and told him so. Sayid turned to leave. Jin protested. Free me! Sayid spotted a box cutter and placed it in his palms. ''Good luck,'' said Sayid, the shruggy hero. Free yourself, comrade. I am otherwise indifferent to you. Now, I must go to my Ayn Rand book club. Ciao, Stranger. It was the most this Good Samaritan felt obligated to do.
While Jin cut through the tape, Mikhail arrived with Sun. They found a kitchen nightmare that would make even Gordon Ramsay curl up in a ball. Mikhail crouched down to examine Keamy. Interesting: Keamy was a still alive. And he was strong enough to tell Mikhail that there was a Korean guy behind him with gun to his head. Mikhail — who shrewdly deduced that Jin was incapable of the carnage around him but concluded perhaps incorrectly that Jin was no killer — smiled an angel-of-death smile and snapped into killing-machine mode. He spun away from the gun and they fought. The gun discharged twice. Jin — whose Island iteration had kicked Patchy's ass in ''Catch-22'' — got some distance on Mikhail and proved him wrong about his killer's gumption by popping a cap in Bakunin's eyeball. Ouch. Mikhail died one eye blind, Battleship Potemkin by way of Moe Green. Do svidaniya, Russian guy.
Had Jin escaped from evil? Yes. But Sun had been touched by it, perhaps fatally. One if not two of those discharged bullets blasted into her abdomen, threatening her own precious package. ''I'm pregnant,'' she told Jin, finishing the thought that had been interrupted by Keamy's fateful arrival into their lives earlier that afternoon. We left the lovers lost in Los Angeles, one them dying, the whole of their love imperiled. Cliffhanger. Paging Dr. Jack Shephard! Paging Dr. Jack Shephard! Stop picking Sun's Island tomatoes and report to your Sideways ER, stat!
This Island Earth!
Land of Confusion
In the Sideways world, Jin and Sun were at the mercy of those whose language they didn't understand. On the Island, their plight was slightly worse: They understood, but they couldn't discern the sincerity. If there was a sign that hung on the gates of this epistemological inferno, it should read: ''Trust no one — even someone you think might be telling you the truth.'' This wasn't just a Jin/Sun problem in ''The Package'' — this was everyone's problem. The theme was perhaps best articulated in the exchange between Ilana and Ben, whom she suspected of being deceitful. Ben: ''Why don't you believe me?'' Ilana: ''Because you're speaking.'' (Ilana may have been willing to take Ben into her company back in ''Dr. Linus,'' but she's clearly not yet ready to trust him.) And now we know why Dogen and the Man In Black advocate the policy of ''stab and kill with the weird ceremonial knife first, ask questions later.''
To me, ''The Package'' seemed to mark the true start of the Island endgame. Said contest will boil down to a competition among storytellers, long-conners, and unreliable narrators for the hearts, minds, and trust of the castaways/candidates. Whom to believe? Right now, the matter seems to be undecided. The episode itself mirrored that uncertainty with its very first scene. The opening shot — seen through night vision goggles — evoked the surveillance cinematography of reality shows like Survivor, Big Brother, and of course that mega-hit Dating In The Dark. (I will also accept the film Paranormal Activity.) We saw and heard Kate and Sawyer talk about faux cocoa. Then we saw Fake Locke stroll through his camp twirling his big stick — and then the shot broke off, as if Spooky Smokey's unreal visage had short-circuited the equipment. It was a very un-Lost bit of storytelling. Opening an episode on an eyeball fluttering awake? Yes. Seeing the world through an eyeball? No. I found the effect rather disorienting, which I think was the intention. Who's in control? Who's running the show? Whose vision will win out on Master Plan Island?
chats. First up: Fake Locke and Jin. Topic: Had Jin been informed of the whole numbered candidate thing? Yep. But was ''42'' Sun or himself? Unclear. But either way, Fake Locke vowed to reunite Jin with his wife. He also told Jin the tall tale that in order for everyone to get off the Island, all the living candidates had to join them. What he didn't tell Jin was what we learned last week about the Monster's true mission. In order to be free from the Island, he has to kill not only Jacob, but also all the candidates eligible to replace him. We'll be analyzing Fake Locke's actions from that perspective until we're given reason to do otherwise.
Next, His Royal Smokeyness talked with Sayid. Fake Locke wanted Sayid to watch his peeps while he went on a hush-hush errand. But all Sayid wanted to talk about was his feelings — or rather, his lack of feeling. He confessed that he felt profoundly numb. Actually, Sayid sounded like he was... dead. ''I don't feel anything. Anger, happiness, pain... I don't feel them.'' (Philosophy professors! Feel free to use this scene when you teach the concept of ''The Philosophical Zombie.'') Fake Locke's response was a mysterious as it was chilling. ''Maybe it's for the best, Sayid. It'll help you get through what's coming.'' I have to think that Fake Locke was flicking at his plan to somehow get Sayid killed, an experience which for a normal person would no doubt involve some pain and anger. But how do we explain Sayid's numbness? My theory of the week is that we're dealing with the controversial theological concept of ''soul sleep,'' the idea that the soul dies with the body, or at least falls into a slumber and doesn't awaken until Judgment Day. It would be fitting that this idea is embodied by Sayid, as the concept originated with a third century Christian sect called the Thnetopsychitae, based in Arabia. The concept later morphed into the word psychopannychia, or mind-soul/all night vigil. Wasn't Sayid singled out as ''an Arab'' in the episode? And didn't Fake Locke tell Sayid to stand vigil during the night while he was away? See? Soul sleep!
With Fake Locke gone, Jin tried to leave. He didn't care what Fake Locke was promising him, he wanted nothing to do with ''that thing.'' Sawyer tried to stop him from doing something rash. And then they were all stopped dead in their tracks. Taser/tranq/something darts plunged into necks of everyone at Camp Locke. They passed out, WIdmore's people, led by Zoe, swooped in and abducted Jin, and the game was afoot.
Meanwhile, it was just another day at the beach for Team Ilana. Which is to say, more milling around and mulling what they need to be doing. Was Richard coming back after stomping away from them last episode? Was he really going to join the Man In Black? Ilana advised them — or maybe more like ordered them — to sit tight and wait. Which was the last thing Sun wanted to hear. She had spent three years scrambling to get Jin back. She wanted to keep pushing toward that goal. To stop and to sit and to wait was anathema to her. Of course, it might also mean that she'd have to stop and reflect and think about her choices, maybe take responsibility for her emotional life and accept that things do change — wait. How did those thoughts sneak into this piece!? Damn that Room 23 and its subliminal messages! Anyway, Sun flipped. She stormed off to her refuge, her garden o' busy work, which fortunately offered her a great deal of mind-numbing manual labor to do since it had gone to weedy pot during her three years away from the Island. Jack showed up and wanted to know if Sun wanted to talk about destiny and stuff. No! Get out! Leave me to my pity party! And so he did.
Man put on his friendliest air and made her one of his devilish bargains. Join me, and I can reunite you with Jin immediately. Sun gulped again. She couldn't trust the counterfeit human, this unnatural entity, this inorganic veggie of a man, and so she made like Kate and ran. UnLocke got pissy and ran after her — on foot. Why didn't he convert into a raging column of smoke and blow past her? Hmmm... Sun looked back. Oops. You never look back when you're running from the devil (see: Persephone and Hades), and Sun smacked into a low-hanging tree limb, earning her a forehead owie to match the one her Sideways soulmate got from the cooler door. Matching ouchies! How romantic...
Sun's head trauma was much worse, of course. As she regained consciousness in the company of recovering rogue Ben, Sun realized she had lost her English and could only speak Korean. (The irony: Ben, the man she once tried to kill, now playing the role of her Good Samaritan. Ben's redemption arc continues!) Doc Shephard diagnosed her with aphasia; I diagnosed her with Genesis 11. The story of the Tower of Babel goes something like this: Once upon a time, there was a city unified by culture, language, and audacious human ambition: to build a tower that could reach heaven. God was alarmed by humanity's outsized hubris and decided to humble them — and divide them up — by ''confusing their speech,'' i.e. igniting an outbreak of foreign tongues. The denizens of the city dispersed into separate communities, cultures, and nations. Hence, The Bible's mythic explanation for a world of difference and Otherness. However, different religious traditions tell slightly different versions of the story. In the Kabbalah version, for example, the Tower of Babel isn't a tower at all — it's a giant flying machine.
The relevancy to Lost? It's all about Fake Locke's plan to get the candidates killed. Remember last episode that Richard had a spiritual revival in the Island's Garden of Eden, underneath a massive Kabbalah-esque Tree of Life. Remember that Fake Locke witnessed that moment. Clearly, he knew Richard would be returning to the beach with a new sense of mission — a mission that I'm now beginning to wonder if Fake Locke/Man In Black gave him. A number of you last week speculated that when Isabella was speaking to Richard via Hurley, she was being controlled by — or was a manifestation of — Smokey. I didn't want to believe that at the time, but I find myself believing in it now. Consider what Richard said when got back to the beach last night. He surmised that Fake Locke plans to flee the Island via a giant flying machine — the Ajira plane. The mission: Blow up the plane. My thinking? Fake Locke is basically running the same con that Sawyer's been trying to run on him. He's trying to bait Team Richard into making a move on Ajira so Charles Widmore will kill them. A more dastardly thought: Smokey is conspiring to get everyone onto that plane — specifically the candidates from his group plus the candidates from Richard's group — in hopes that Widmore will blow it out of the sky. So why take away Sun's speech? Because after she declined his offer, he knew she'd try to talk her friends out the plan — which she did try to do. Either that, or Fake Locke wasn't thinking short term at all by taking away Sun's English, but rather was planting a seed designed that will bare him fruit down the road when Team Richard executes its plan. In other words: Look for Sun's loss of English to prove costly at a pivotal point in Operation: Ajirasplosion.
on Lost in which a character mysteriously lost the ability to communicate verbally. The episode was ''Further Instructions,'' and the victim was Locke himself. The Island had taken away his speech in the aftermath of the Hatch explosion as a kind of punishment for his big season 2 sin: Straying from his Island mission and becoming obsessed with pushing the Button, abandoning the natural world of jungle for the unnatural environs of The Hatch. Stripping Locke of his speech was part of the Island's way of dressing down its unfaithful servant and reminding him of who he was and what he was supposed to being doing. Perhaps Sun was stripped of her English for similar reasons. After all, she learned the language in order to run away from Jin. Moreover, she learned it from a man that became her lover. Sun's English had once saved her husband from the false charge of setting fire to the raft. It helped her build bridges with the castaways. Otherwise, her English must be something of a bitter talent. To use a phrase from Dogen, she must ''hate the way it tastes on her tongue.'' Regardless, she doesn't need it anymore. Her future is in Korea, with her husband, with her daughter, and with a mother and father that need her forgiveness. So maybe losing her English wasn't a psychic assault. Maybe it was a movement of the Island to reminder her of who she is — and what she needs redemption for.
All this said, I think her outburst at Richard was the most telling — and possibly worrisome — development of the evening when it came to Sun. She blasted him for wanting to blow up what had been her escape plan: Find Jin, get Frank Lapidus to fly them off the Island. Moreover, she didn't want to ''save the world.'' She just wanted her lover back! On one hand, you could say it provided her with a much-needed opportunity for catharsis. On the other hand, it betrayed just how tightly she holds onto her past and her dreams of happiness, and the ideals she might sell out to make them come true. We've seen throughout the season that people who cling too tightly to dreams, who have an almost idolatrous relationship to their dreams — Claire and Aaron/motherhood; Sayid and Nadia/true love — they become easy to manipulate, easy to corrupt. Jack gave her the gift of a tomato. He found it in her dead garden, stubbornly clinging to life. I think Jack offered it to her as a symbol of hope in a moment in which she sorely needed it. Okay. But you could also view it as a symbol of... well, stubbornness. Of not knowing when to quit. Of not knowing when to let go. Does Sun need to learn these lessons? Maybe. But she should definitely be thinking about them instead of running away from them. Which is why the gift of the notebook was a gift indeed, for the work it will require will force her to reflect. ''It'll take you a little longer to get your point across,'' he said, ''but at least you have your voice back.'' (I just wish he hadn't made her that promise to get her back with Jin and get them off the Island. Yes, I'm sure he wants to atone for being partially responsible for separating Jin and Sun in the first place. But I'm not sure this recovering fixer is ready to be making messianic promises like that.) (Regardless, English kinda took a beating this week, didn't it? I want all you budding Noam Chomskies out there to write me a 10,000-word research paper on English as a metaphor for a corrupt culture that requires salvation from sophistry and renewed commitment to meaning. Be sure you cite things like ''memes,'' ''spin doctoring,'' ''Swift Boat,'' ''crisis management,'' and Stephen Colbert's philosophy of ''truthiness.'')
to his camp and found his peeps recovering from Team Zoe's taser attack. He was smokin' mad. As he later told Sawyer, ''I don't like surprises.'' It was interesting to see that Smokey wasn't omnipotent and omniscient as he sometimes appears to be... though again, I continue to wonder how much of the persona he presents to the castaways and how much of the information he gives them about himself is but a long con designed to lead them to wrong conclusions about his master plan and poor estimations about his ability and power. For now, let's say he was genuinely unnerved by the sneak attack. And he wasn't about to let the indignity stand. He zipped over to Hydra Island and casually strolled the beach, drawing fire from the spooked Widmore goons hiding behind the sonic fence. Widmore himself emerged from the brush and the two hair-challenged fiends had a summit. FLocke said that yes, he knew who Widmore was. Did Widmore know who Fake Locke was? ''Obviously you're not John Locke,'' he said. ''Everything else I know is a combination of myth, ghost stories and jungle stories in the night.'' Fake Locke eyeballed the sonic fences and called him out: Clearly Widmore knew a little more about The Monster if he knew to make use of the pylons. Pulling from the memory of John Locke, FLocke threw some of Wilmore's own words back at him. ''A wise man once said, ‘War is coming to this island.' I think it just got here.'' Question: Was Fake Locke talking about Widmore — or himself?
Charles Widmore had one thing in common with Fake Locke: both experienced complications in their master plans. We learned that Zoe had jumped the gun when she abducted Jin from the beach. Widmore fumed. Zoe retorted: ''Well maybe you should have put a mercenary in charge instead of a geophysicist.'' And why would Widmore need a geophysicist playing point guard for his newest Island incursion team? The answer fed the mystery of Wilmore's true intentions. Zoe's job is to locate one or more hotspots of electromagnetic energy on the Island. The reason why they needed Jin (sooner or later) was because he had apparently mapped those hotspots during his days in the Dharma Initiative. What might Widmore be looking for? Frozen Donkey Wheel? The Temple's resurrection hot spring? New Mythological Landmark TBD? Regardless, I stick to my long held theory of Wilmore's motivations: the quest for eternal life. (P.S.: Is Sheila Kelly working for you as Zoe? My guess is no. Me? Meh.)
send them home. Jin could get behind both those ideas. Widmore sealed the deal on procuring Jin's loyalty by giving him Sun's camera, which Wilmore's peeps had found on the Ajira plane. Jin choked back on tears as he saw for the first time his daughter, Ji-Yeon. I thought, Well played, Mr. Widmore. Well played. Maybe all his empathetic talk about also being a father who's suffering through separation and estrangement from his daughter was sincere. But I'm not buying it. The proof came in the form of the ace in the hole of his Island campaign: ''The Package.'' Not a what, Widmore said. A who. By episode's end, we were led to believe that who to be Desmond Hume. We saw him get hauled out of the sub, weak and sickly and trailing strings of IV tubing. Sayid saw him, too. Tasked by Fake Locke to finish the recon Sawyer couldn't complete a couple episodes ago, Sayid floated like a killer croc in the water as Desmond stumbled and fell and made eye contact with him. Hopefully we'll soon see what makes Desmond so ''special'' and why Widmore has always wanted on the Island. Whatever it is, it can't be good. Which means that Desmond has one thing in common with Sideways Jin: they both have fathers-in-law that want them dead.
Stuff we didn't talk about: How Mr. Paik's bid to block Sun's escape plan = the Jacob/Team Richard bid to block the Man In Black's escape plan; Sawyer sweating the viability of his own escape plan; Fake Locke's manipulation of Claire and plan to pit her against Kate; the return of Room 23; and whether or not you, too, are wondering if Desmond Hume might actually be Sideways Desmond Hume. But my time has run out, and you deserve a chance to talk back. Check out the new episode of ''Totally Lost,'' a four-part epic graced by the presence of Titus Welliver (the Man In Black) and some choice clips from the original Clash of the Titans. I'll be back on Friday with a new column. Namaste!
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