The latter is highlighted by Ben (Michael Emerson) and Locke (Terry O'Quinn) as schoolteachers Sawyer (Josh Holloway) as a cop Jack (Matthew Fox) as a father Kate's (Evangeline Lilly) flight from the law the return of Libby (Cynthia Watros) in a touching episode with Hurley (Jorge Garcia) and, ultimately, two unexpected characters on a scrambling mission to round up passengers from the flight.
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The subtle indications that the alternate timeline might not be quite as similar to the original as it seems (Was Locke lying? Or did he really manage to go on his ‘walkabout’ in this timeline?) As usual, the details are what make even the most pedestrian scene into something worth obsessing over.The highly-anticipated sixth season concludes this enigmatic time-traveling series on two fronts: the story of survival, escape and understanding among multiple factions on the island and an intriguing "flash sideways" to present-day Los Angeles in which Oceanic flight 815 never crashed. For Lost obsessives (and, let’s face it, aren’t we all at this point?) there were tonnes of easter eggs: the return of Frogurt, Arzt, and Hurley’s Chicken Advert, for example.
However, as good as the big, sweeping elements were, it was the small details that made this episode great. Deeply threatening and malevolent in one scene, genial and meek in the next. Will either be the next Eko/Daniel/Desmond in terms of going from antagonist to fan favourite over the course of a season? Time will tell on that one.Īt least the old stalwart, John Locke, was able to bring the goods, as Terry O’Quinn gave the kind of subtle, nuanced performance that shows why he’s been placed at the heart of Lost. A haughty Japanese man named Dogen and his interpreter, John Lennon.
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On the plus side, we were introduced to a new bunch of enigmatic and compelling characters. Why didn’t Jack remember Desmond, given how quickly the realisation came when they were on the island together? And try as they might, all the makeup in the world isn’t going to make the cast look like they did in Season 1, particularly in Claire’s case. Shannon’s absence, although explained, still seems conspicuous, like it was motivated more by contract wrangling than story reasons. It’s almost hard to believe that a show offering such poor ‘sunken island’ CGI and dodgy smoke monster effects is the same one whose pilot was touted for being the most expensive ever.Ĭertain elements of the flash-sideways were also hard to believe. It was the CGI that fell majorly short, though. The lack of any big single game-changing twist left it feeling a little too much like simply the next episode in the saga, rather than the start of the sprint towards the finish line. Indeed, although the twists came thick and fast, many were delivered with an almost pedestrian air – Desmond on the plane, ‘Locke’ being the Smoke Monster – they were so understated they almost slipped past unnoticed.Īs a season opener, it wasn’t perfect.
Despite being a two-parter, the events of the episode were strangely muted, favouring a rhythmic, building sense of disorientation and confusion to a single moment of brain-exploding clarity. However, this time, there was none of that. Traditionally, Lost likes to use its significant episodes – openers, season breaks, season finales – to treat its viewers to a rug-pulling, eye-popping twist that makes it seem as though the room has just depressurised and everything’s suddenly being sucked out the door.