An unhinged Dickie discovers who has the Janus tapes and will stop at nothing to get them back. When their family is threatened, Yates and Frances must put their differences aside to keep their sons safe. As Yates stops running from his past, Frances finally learns what actually happened the night of the debutante ball. But even this deep-seated truth isn't enough to solve all the mysteries of this small town.
Meanwhile, Frances looks for Claude in New Orleans, and discovers a secret that even the dead can't hide. Season 1 All. All comments.
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Please see your browser settings for this feature. The rest of the Oceanic Six story is essentially a waiting game as we watch the pieces fall into place so that these characters can return to where we really want them to be — on the island.
In fact, their return to the island in '' feels rushed, almost as if the writers realized that the best place for these characters is back on the island. Maybe if they injected more of the mystery into the off-island story that can be found on the island it would have been much more compelling but unfortunately only a few stories stand out. Desmond's quest to find Daniel Faraday's mother is an intriguing journey but isn't given as much screen time as the story deserved.
In fact, Desmond fans might find themselves a little disappointed as he is woefully underused this season. The aptly named 'The Life and Death of Jeremy Bentham' is the best episode that takes place almost entirely off the island. The story chronicles John Locke's attempt to convince the Oceanic Six that they need to return to the island in order to save those left behind. It's a tragic story for John Locke who has spent the last four seasons in the belief that the survivors of Flight are tied by a single destiny but only in death does he finally make people believe.
It's a well-scripted story and wonderfully acted by Terry O'Quinn who does a great job of portraying an interesting transition for Locke on screen. Locke isn't the only one who goes through a transition this season as Benjamin Linus is forced into a situation that is quite surprising for the character. Without delving into too much detail, the dynamic between Locke and Ben changes quite a bit but the great chemistry between O'Quinn and Michael Emerson is still as exceptional as it has always been.
Linus fans should not be disappointed by some of the great developments for the character this season. Season 6 of Lost is quite possibly the most scrutinized season of television in history. With both longtime fans of the series and curious outsiders wondering if this season would deliver both on answers and a satisfying conclusion, series show runners Damon Lindelof and Carlton Cuse had an incredible task on their hands. With an edge-of-your-seat conclusion to Season 5, the small band of survivors we've grown to love set out on their final journey against a villainous shape shifter on an island of mystery.
In Season 4, 'The Constant' established Lost as a science fiction series when it introduced time travel into the equation. From that point forward, until the conclusion of Season 5, the series maintained and expanded on that concept by sending the survivors hurtling through time until they eventually landed in or , for those on Ajira Season 6 drops the time travel story completely and introduces a different sci-fi concept: alternate realities.
It appears that the detonation of Jughead in 'The Incident' created a parallel universe in which events played out slightly different and Oceanic Flight never crashed. Much like flash-backs and flash-forwards, we experience this parallel universe through a series of 'centric' flash-sideways featuring the lives of these characters as if the crash had never happened.
This gives Lindelof and Cuse a unique opportunity to reexamine the lives of these characters from a completely different perspective. One of the issues I had with Season 5 was that important character development took a backseat to science fiction. Those issues are corrected in Season 6, with the flash-sideways giving us incredibly important character moments and an intriguing new story that's both surprising and engaging.
With each 'centric' flash-sideways story, parallels are drawn to the character's plight while they are on the island. This relationship between timelines establishes a key connection between both storylines that give the flash-sideways an importance outside of simply being a different perspective on how things could have ultimately played out. Connections between the two universes are explored more thoroughly as the series progresses and we do ultimately get a resolution to the flash-sideways storyline.
How satisfying that resolution is will ultimately be based on a number of factors that stem from your own expectations. In other words, it's a polarizing conclusion to a very unique story and you're probably either going to love it or hate it. I loved the way the flash-sideways story ended because it satisfied my need for closure, but I can understand why there are those who weren't satisfied. The reveal that the flash-sideways has been taking place in a purgatory of sorts, of the characters' own design, is a surprising conclusion and some may feel that earlier events in the season don't do enough to establish these shocking final moments.
On closer examination of the flash-sideways, it's a tough call and those who find themselves a little frustrated with the sudden twist do have an argument. There aren't many hints dropped that suggest the flash-sideways is anything more than an alternate universe. There are a few however, with one of the more subtle coming early in the season, as Juliet Elizabeth Mitchell shuffles off this mortal coil.
As Juliet passes, she says, 'We can get coffee some time. Only in the finale do we truly discover the context of that conversation and even then there is no implicit suggestion that the place they are in is the afterlife. Yes, the line was initially a little ambiguous, but I think no one correlated it with the possibility of her soul entering the afterlife because nobody was honestly looking for it.
There was another opportunity with Sayid Naveen Andrews to draw a parallel between death and entering the alternate universe, but unfortunately it was never explored. With Sayid's death and resurrection in 'LA X' it would stand to reason that he should have made a connection with the other side. However, he never mentions experiencing another life after he died.
But what if Sayid went to the other side and saw himself as a killer, leaving him distraught when he returned because he felt the version he saw of himself in that world proved he was nothing more than a murderer? This would explain why he was so emotionally numb soon after his return and why he was willing to barter with the Man in Black to return to the one he loved most.
Sayid's not stupid; he knew that the Man in Black had every intention of killing him, which would give Sayid exactly what he wanted, a chance to change events on the other side. Nothing is ever explicitly laid out and at the end of the day it's only one flawed theory amongst many, but it's this kind of subtlety in storytelling that sets Lost a part from the rest of the pack. There remains so much to interpret throughout the series that there is still plenty of enjoyment to gain from multiple viewings.
Living, breathing Desmond David Hume Henry Ian Cusick has his consciousness transported into what we now know to be the afterlife and acts as the genesis for everything that happens in the 'flash-sideways' realm after his departure. If Desmond is never zapped with a high amount of electromagnetism the new answer to everything , how would the Losties have ever found the closure they needed to let go?
It's probable that in time they would have all found each other but Desmond certainly accelerated the process. Desmond is also the catalyst for most events that occur leading up to and including the finale. He's seen as nothing more than a tool by those around him; a means to an end. However, Desmond is infused with his own sense of purpose.
With the events he experienced in the other universe infecting his mind, Desmond sets out to free those remaining on the island from their pain and suffering and take them to a better place. It's funny how both Desmonds are essentially driven by the same goal, with only one succeeding. It's that exploration of the duality of these characters that makes the flash-sideways universe a brilliant storytelling mechanic. By taking the plane crash out of the equation, we are taken back to the very roots of these characters, when they are still burdened by their respective problems.
Those mirror shots that were so prominent in the flash-sideways weren't there to simply represent both universes - they show us that these characters are conflicted. They live out one life while suppressing another part of themselves completely.
James 'Sawyer' Ford Josh Holloway may have chosen to be a cop in this universe but he's essentially still the same man with a vendetta that we've known for years.
John Locke, bound by a wheelchair, still seeks that freedom he found on the island but refuses to let go because of what he did to his father.
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