Wednesday, March 31, 2010

Lost: Season 6, Episode 4 Review: The Substitute


The Substitute
Original Airdate: February 16, 2010
Writer: Elizabeth Sarnoff & Melinda Hsu Taylor
Director: Tucker Gates

Note: To avoid further confusion, when necessary, characters belonging to the flashsideways story will be referred to with a “LA X” prefix. Those belonging to the original timeline will have an “815” prefix.

The producers have said this season is meant to mirror the first, down to having many centric episodes correspond with the ones given back in season one. Next is Locke, and his flash sideways contrast his original flashback. His first episode “Walkabout”, besides being one of the series’ high points, revealed that under the cool demeanor was a man riddled with insecurity, loneliness & anger. Here in the flashsideways world, while he is the same character, he is not alone and can handle the problems he faces.

Instead of 815 Locke being mistreated by everyone he meets, those LA X Locke encounters, specifically those 815 Locke met on the island, help him deal with his problems: Hurley gives him a reference to a temp agency after he is fired from the box company Hurley owns, Rose gives him perspective as her acceptance of her cancer causes Locke to accept his much less lethal fate, & Ben, ironically, gives Locke a friend. It also helps that this Locke still has Helen, his fiancée here, in his life. Unlike Kate, whose life is at the same level it was in the master timeline, Locke’s life is unquestionably better, even if things don’t always go his way.

Having people in his life has kept the frustration in LA X Locke’s life at bay. Had 815 Locke fallen from his wheelchair and got stuck amidst the sprinklers, he would’ve had a fit instead of laughed it off. Of course LA X Locke’s life still has its disappointments, like Randy’s bullying (although he deserved punishment for wasting company money on a conference he never attended), his wheelchair lift’s failure to work, and after getting fired having to answer silly questions about what animal you’d like to be (from the woman who told Hurley’s fortune in the original timeline). However, LA X Locke’s contacts help him avoid becoming the target 815 Locke was. In fact, LA X Locke is very practical, the ultimate irony in this flash sideways is Locke, who we’ve known elsewhere as the man of faith, substitute teaching science.

As they plan their wedding, Helen mentions inviting Locke’s father. That obviously means they had a much healthier relationship in this reality. He didn’t put Locke against Helen and break them up, and it can be safe to say he didn’t push him out the window either that paralyzed him. Since he’s in a wheelchair anyway, the big question is how it happened in this reality. A possible hint comes when he shows interest in a construction job, where we can infer an accident caused it.

Continuing the connections that happen anyway, Locke meets none other than Ben Linus, teaching European history (which sounds like a perfect fit for Ben). Instead of their hostile meeting in season two, these versions bond over appreciation for tea, a “gentleman’s drink” as Ben says. Unlike LA X Kate & Claire’s connection, which was forced to a fault, this one feels more natural. Ben, as I joked, fits that type of teacher role well. Not to mention these characters are just so much fun to see together.

Besides the fun connection, it adds a layer to what exactly Jack & co. changed in 1977. Seeing the island sunk in “LA X”, I’d assumed everyone on the island who didn’t flash to 2007 died in the explosion and subsequent sinking. Ben surviving and making it to the main land means that just about anyone could’ve gotten off, and that maybe the island ending up sinking much later than originally thought. On the other hand, it also could mean the flash sideways have nothing to do with the bomb going off, playing off our expectations for a twist.

Back in the main storyline, Man in Locke goes about recruiting & playing mind games with Alpert. This shatters Alpert’s cool demeanor, which may have been part of his plan knowing he wouldn’t go on board. He finds a perfect recruit, however, in Sawyer. Man in Locke knows the broken man Sawyer has become, blasting nihilistic music while drinking himself to oblivion, makes him a perfect candidate (so to speak) to join his team. Sawyer doesn’t care about anything, but in Man in Locke, he sees answers, and possibly closure.

While Alpert warns Sawyer that he can’t trust Man in Locke and that the promise of answers is a trap, Man in Locke takes Sawyer to the cave, and a big piece of mythology returns. He reveals that Sawyer, along with Sayid, Hurley, Jack & one of the Kwons, are “candidates”, something Ilana introduced last season. Being a candidate means that Jacob thinks they may take up the throne when he’s gone. Each candidate is indicated with one of the numbers, which adds a lot of importance to them. I still doubt we’ll get a concrete answer to what the numbers mean, but connecting them to something like this is very interesting.

Although I don’t trust Man in Locke, he has some valid points. Jacob’s actions have been manipulative, planting seeds in the Losties heads to give them the illusion of choice. However, I don’t think anyone should go through the series taking Man in Locke’s words at face value clearly hasn’t been watching this show for five years. Man in Locke, much like Jacob, knows a lot about manipulation. The promise of answers and exit from the island is a good way to do it.

Much like Locke’s original episode showed the cracks in his confident exterior, here we see the first cracks in Man in Locke’s when a vision of a young boy with blood drenched hands appears. People have speculated that this kid is a young Jacob, or a being more powerful than either Jacob or Man in Locke. His warning that he can’t kill “him” (do they know how to use pronouns on this show or what?) could indicate some judge in this feud, and that unleashes the facet of Locke’s personally plagued with frustration. While teasing an important piece of Man in Locke’s background, having that piece of Locke come through may be where Locke will ultimately get his redemption, since this episode makes clear that Locke will not be resurrecting.

Ilana, Lapidus, Sun & Ben decide to bury the real Locke at Boone hill, which apparently is within walking distance of the four toed statue despite it taking the survivors 2 seasons to find it in the first place. There, they give Locke a proper burial. While Ben’s eulogy was uncomfortably awkward, but I think stands within his larger redemptive arc and his remorse for triggering the larger conflict they are embroiled in. He knows Locke deserved better, and all of this is his fault.

One thing that struck me was some of the directorial choices. I loved the smoke monster POV shot flying across the landscape, reminiscent of the evil force going through the forest in Evil Dead. Also some of the cinematography drew more attention to itself, but actually enhanced the viewing. So often on TV episodes stylistically look the same (for the sake of constricting time frame of shooting) that it’s nice when they change it up, even a little bit.

Despite still having the issue with how the flashsideways pertain to the main action, this episode’s subplot has me warming up to the concept. Of course Locke’s character tends to have among the best centric episodes, and this one, similar to “Walkabout” help sell people on the series, helped make the flashsideways much easier to digest.

Overall Score: 9/10

Thursday, March 25, 2010

Dispatch #22: 5 Years of Reviews Capped With My 30 Favorite Shows of the 00s.

Hey readers,

Five years ago, I published my first episodic review, for 24’s “Day 4: 8:00 PM – 9:00 PM” (I gave it a 6/10). In honor of that, and because some people are still getting out best of the decade lists (it’s not easy for critics who don’t get paid), I bring you my top 30 favorite shows of the decade. Why 30? Because there’s no way I could only do 10, or even 20. Hopefully this can help make up for lack of consistent releases, which should be changing.

This was a fantastic decade for TV. The 00s were to TV what the late 60s-70s were to American cinema. The long suffering TV geek, avoiding the glares of snobs who dismissed the medium as the “idiot box”, had a lot to celebrate and point to for proof of what TV was capable of. Not only the quality of the shows, but its sheer volume was astounding. It had something for every viewer, from those who wanted complex epics told over seasons to ones that just told self-contained stories. Technology, between online video & the TV-DVD marker, has made these series easier to get a hold of, and HD broadcasting has made them look better than ever. Certainly we’ll be reaping the benefits of these shows for a long time.

Please note: The list starts at 27 because there are a few ties.

27. It’s Always Sunny in Philadelphia (FX, 2005-Present)

Its latter seasons are keeping it from being higher on the list, but its first three were solidly funny. It’s Always Sunny takes the concept of Seinfeld, horrible people hurting others and themselves because of their own self involvement, to its logical conclusion, one that could only be done on cable.

26. CSI: Crime Scene Investigation (CBS, 2000-Present)

Procedurals have gotten under the skin of many critics who feel like they homogenize TV and leave little room for originality. They seem to forget how entertaining a formulaic show can be when done right. CSI, the blockbuster spun out of our post-OJ fascination with forensics, took an interesting spin on the crime drama where the guys collecting the evidence, not the beat detectives or police officers, were the heroes.

25. Mad Men (AMC, 2007-Present)

I’ve said occasionally on other blog entries that for much of the series run, I found Mad Men to be seriously overrated. I couldn’t get over the often smug winking the show did at how people were back then, as if the series was made solely to anger republicans who can’t stop talking about the post-WWII, pre-“The 1960s” era. Obviously the show is meant to deconstruct nostalgia by having the people who manufactured it as the focus, but they went a little overboard. After really enjoying the third season, I want to go back and see what I missed the first time. With immaculate production value & superb acting, it’s the first show that feels like an heir to The Sopranos’ style where setting mood and painting a picture take precedence over conventional plot.

24. Breaking Bad (AMC, 2008-Present)

Certainly it doesn’t take long for a show to make an impression and this one, cementing AMC as the budding darling for quality cable TV, is a prime example. Bryan Cranston gets to show some range in a role few who saw his comedic side in Malcolm in the Middle would’ve ever expected to see. As Cranston’s White goes further down the slope of meth production, so the series goes darker, analyzing what can happen in a dangerous culture with a man who has nothing to lose.

23. Buffy the Vampire Slayer (WB, UPN, 1997-2003)

Shows that are split between decades often get the short end of the stick, but Buffy’s 00s output was nothing to be ashamed of: from the trippy “Restless” to the meditation on mortality in “The Body” to the song & dance of “Once More With Feeling” to the feminist empowerment of “Chosen”. Even though it went too long and got too dark in the latter seasons, it still had greatness sprinkled throughout the run.

22. Venture Bros. (Cartoon Network, 2003-Present)

I’ve been quick to dismiss a lot of Adult Swim’s original programming as mindless stoner humor with no attention span. Venure Bros. makes me rethink that claim. While Venture Bros does have a lot of the absurdity AS is famous for, it also explores themes of failure and disappointment without losing its humor. In a way, Venture Bros. is a deconstruction of the cartoons of the 60s and 70s the way Watchmen is a deconstruction of the superhero mythos. It also has the most fleshed out cartoon ensemble since The Simpsons.

21. Planet Earth (BBC, Discovery, 2006)

If there was ever a reason to get on board with HD, it was this mind blowing documentary miniseries. Camera crews, some working for months at a time with state of the art technology, captured life from every climate on this planet in unbelievable detail. Don’t settle for standard definition: when you make the move to HD (if you haven’t already), make sure to check this one out.

20. House (Fox, 2004-Present)

Procedurals get criticized for emphasizing story over character development, but no one could claim that on David Shore’s medical blockbuster. At the center lies Hugh Laurie’s Greg House, a man who can’t stand people, but his brilliance at treating their ailments is unparalleled. Using CSI-esque techniques, it spins the medical drama into a mystery solving procedure, turning whodunits into what caused it. While the average viewer can’t play along, it’s nonetheless entertaining.

19. Six Feet Under (HBO, 2001-2005)

At its worst, it was pretentious and preachy (if you couldn’t figure it out, Alan Ball is not a fan of George W. Bush). At its best it was a great observation of mortality and how life should be lived. Like everything on HBO, it was beautifully produced and had one of the best ensembles around, from Michael C. Hall, who had a great decade, to Richard Jenkins.

18. Battlestar Galactica (SciFi, 2003-2009)

Science fiction has always lent itself to allegory, and this remake of the 1970s cult favorite is no exception. From the beginning it was clear this wouldn’t be your parents’ Galactica, as the series served as one of the decades’ defining commentaries on the War on Terror. It was dark, complex and often challenging, as the human survivors swayed from representing America to representing Iraqi insurgents. Though the series didn’t plan ahead as much as the series needed which lead to an uneven end, the journey and examination of what makes us human remained strong.

17. Survivor & The Amazing Race (CBS, 2000-Present, 2001-Present)


Survivor, which helped get CBS to the top of the ratings (which they owned for the rest of the decade), may be easy to blame for the piles of sludge that make up a lot of reality TV. However, Survivor has taken the high road with the drama existing in the game and not on exploiting people. It’s a simple concept and they’ve kept it fresh for almost 10 years. The Amazing Race goes that same route ratcheting suspense out of every moment as it sends its players around the world.

16. Deadwood (HBO, 2004-2006)

Much like The Wire is about a society on the verge of collapse, Deadwood is about such a society being built. Filled with fantastic actors from Ian McShane’s iconic portrayal of Al Swearengen to Timothy Olyphant’s Seth Bullock and containing some of the most complex, Shakespearean dialogue ever to be shown on TV (where its profanity is an art-form), it’s one of those shows that fully realizes its volatile environment, populated by people looking to make their fortune, and where nothing stands in the way of it.

15. 30 Rock (NBC, 2006-Present)

The NBC series about the behind the scenes machinations of a sketch comedy show made by a talented writer that premiered in the fall of 2006 that had a number divisible by 30 in the title that succeeded, 30 Rock had different ambitions than Aaron Sorkin’s Studio 60, but it succeeded where Studio 60 failed. It was a goofy cartoon and a smart satire of show business & politics, picking up where Arrested Development left off. Not to mention, the comedic duo of Tina Fey & Alec Baldwin (the latter of whom is clearly having a lot of fun) is one of the decade’s best.

14. Dexter (Showtime, 2006-Present)

If only every great TV actor had the rebound Michael C. Hall did. Hall went from playing neurotic David Fischer on Six Feet Under to the title role here, a serial killer preying on those who prey on others. While many criticize the supporting cast for being uneven or not as well developed, character study of a sociopath trying to relate to others while coping with his dark desires remains fascinating.

13. Friday Night Lights (NBC, Direct 101, 2006-2011)

There has been a lot of talk about middle America in the past 10 years, and it ranges from people calling them rednecks to people patronizing them as proudly ignorant “Joe Six Packs”. Thankfully the writers behind this beloved but critically under seen gem never go the easy route (except for that rough patch in season two). Instead they focus on making well rounded, fully realized characters, played by very talented actors. That NBC hasn’t made this show a massive hit just goes on the ever expanding list of failures the network has made in the past 10 years.

12. How I Met Your Mother (CBS, 2005-Present)

The “Death of the Sitcom” has been a catchphrase for critics ever since Seinfeld ended 12 years ago. It can be easy to see why: traditional sitcoms are glut with thinly veiled excuses for gags and characters acting merely as punchline delivery services. However, creators Carter Bays and Craig Thomas show there is still room for traditional sitcoms to be fresh with flashbacks and asides used to help build jokes and recurring bits. Besides the show’s high concept and clever writing, they’ve never forgotten about quality character development either, building a solid ensemble with fantastic chemistry.

11. Chappelle’s Show (Comedy Central, 2003-2006)

The untimely demise of this show and its fallout might’ve diminished the decade's defining sketch comedy show, but the show, to borrow a phrase from the show, is "scandal-proof". Sketches like the night with Wayne Brady & the instant classic Rick James episode are still as hilarious as they are quotable. It had some of the edgiest comedy on TV from the past 10 years, but was always served with a smile, which explains how massively popular it became.

10. South Park (Comedy Central, 1997-Present)

South Park’s trajectory is similar to another groundbreaking animated show, The Simpsons, in that the writing got tighter and funnier after commercial overkill early in the run. It was reborn with the film “Bigger, Longer, and Uncut” and spent the next decade refining their satiric jabs at anything in their path. Technology also gave them an advantage no animated show has ever had: topicality. Their remarkable ability to take something from the headlines and put it into a show within days of it happening is something you don’t see even in scripted situational TV. Certainly many have tried shock humor to diminishing returns, but South Park always had a brain to their humor, even if it was fart jokes.

9. The Shield (FX, 2002-2008)

The show that put FX on the map, The Shield could easily be dismissed as another cop show. Vic Mackey is the “loose canon” cop who is going to land his bosses in trouble for his behavior. However, the seven season arc is much more a tragedy of the decline and fall of Mackey and his team of crooked cops patrolling one of the worst districts in LA. It pushed the limits of what you could see on basic cable, but it wasn't just shock for its own sake. Its well crafted story and powerhouse performances (from CCH Pounder, Walton Goggins and of course Michael Chiklis) elevate it into one of the decade’s best crime dramas.

8. The Office (UK) (BBC, 2001-2003) & The Office (US) (NBC, 2005-Present)


Ricky Gervais’ original is an exercise in how to wring every bit of discomfort from awkward social interactions. In just 7 ½ hours, it’s perfect. This set the bar high for the remake, which after the disaster of the American remake of Coupling, had skeptics waiting for it to fail. However, they were able to overcome it thanks to fleshing out the ensemble with a lot of great, funny characters, developing one of the most involving and realistic long term TV romances ever as well as finding its voice rather than shamelessly ripping off its source (besides the first episode).

7. 24 (Fox, 2001-2010)

Certainly 24 didn’t have any expectations of being more than a thrill ride going in, but the effects of 9/11, which happened 2 months before its premiere, changed its path permanently. Rather than avoid the associations people had with the show, they embraced them, taking our worst nightmares of terrorism and turning them into escapist fun. Sure it veered into absurd plot twists that came out of the writers desperately trying to fit enough content for 24 episodes, and the recent seasons have left a lot to be desired, but when it works no one does exciting popcorn TV better.

6. Freaks & Geeks (NBC, 1999-2000)

Most depictions of high school from TV tend to see things from a glossy, artificial perspective. Freaks & Geeks is the rare exception. It exposes the horrors of high school, the hilarious, embarrassing, heartbreaking & poignant, in a way no other high school show has done before or since. It was awkward years before it became fashionable. While the show failed commercially, it’s great that so many of its cast and crew have thrived in the second half of the decade. If only NBC knew then what they had when they had it.

5. The Daily Show With Jon Stewart & The Colbert Report (Comedy Central, 1996-Present, 2005-Present)


Certainly the Bush White House gave comics a lot of material, but what separates these is the immense wit and biting commentary they brought with them. While some critics may decry that young people get their news from the brilliant satirists, what they see has declining standards in our youth is really the declining standard of journalism. Stewart, Colbert & Co. are among the sharpest critics of modern news, satirizing the operation & influence of news as well as the events themselves.

4. The Sopranos (HBO 1999-2007)

No doubt this list would read differently had The Sopranos never aired. Its first season was a revelation and it sent a very clear message: everyone else needed to step up. With its tale of a man dealing with his family, both home and in his criminal enterprise, it was proof you could see something on TV that was comparable to the best cinema. Sure controversy surrounded the later years as creator David Chase was unwilling to provide closure to many dangling loose threads like the final scene and seemed to have open contempt for those who wanted it, but the show, from the production to the acting, made up for it most of the time.

3. Lost (ABC, 2004-2010)

In the wake of HBO’s golden age, many critics feared that they wouldn’t find anything on network TV that had the goals and ambitions of cable. They had reason to worry, many shows like this on network TV have been quickly canceled. Luckily, everything happened exactly as it did for Lost, one of several series that rejuvenated a lagging ABC. With its ethnically diverse cast and its sprawling story, Lost has kept audiences guessing for years and even in its final season, it’s anyone’s guess how it will end. While it may not have always been a smooth ride, those who stayed along have reaped many rewards.

2. Arrested Development (Fox, 2003-2006)

It’s unfortunate that a show like Arrested Development never caught the commercial break it deserved. Despite awards, accolades and a few stunts, the people never tuned in, or long enough to make a difference. Those who left unfortunately missed one of the most satisfying TV viewing experiences the decade had. Nobody did meta comedy, clever word play and recurring jokes that build over episodes or seasons like Mitchell Hurwitz’s masterpiece, often described as “Royal Tenenbaums meets COPS”. Its attention to detail makes Arrested Development naturally rewatchable with details and jokes coming out through multiple viewings. Whether the movie actually gets made, the series itself is more than enough to stand as a brilliant, hilarious story.

1. The Wire (HBO, 2002-2008)

If you ask your TV geek friend what series you should watch if you could only watch one series from the past 10 years, it’s going to be this one. You may already be sick of them talking about it, but seeing is believing. Deserving of all the praise it gets, David Simon’s epic of crime and corruption in a modern American city is the best example of the visual novel many serialized shows strive for. Each episode contains half a dozen subplots with dozens of main and supporting characters, yet never in the 60 episode run did any moment not get the time it deserved (an element Simon surely learned from his time as a newspaper reporter). It ran the gambit from the halls of power to nadir of the streets and from the devastating to the hilarious while rarely losing consistency. To paraphrase the home improvement store employee in the classic season four opener, every other show on this list is second best. Considering the caliber of shows that came out in the past decade, that’s saying something.

Tuesday, March 16, 2010

Lost: Season 6, Episode 3 Review: What Kate Does

What Kate Does
Original Airdate: February 9, 2010
Writer: Edward Kitsis & Adam Horowitz
Director: Paul Edwards

This episode has taken a lot of flack from viewers to the point where it is one of the most derided episodes since “Stranger in a Strange Land”. It’s no where near as bad, but it is the weakest of season six to date (I’m on episode 7). The alternate reality storyline was a tough enough sell as it was, but then the first regular episode is a Kate episode, whose character tends not to have the best episodes. Sadly, it’s not enough to sell the on the fence viewers on this season’s concept, which is still wonky as far as its importance in the series as the finale draws near. The other stuff going on is interesting, but this piece weighs down the rest.

This is another “what’s the point” arc. Does it matter if Kate gets away since as far as we know it has no bearing on what Kate does in the main storyline? It just goes back to the writers continually failing to do much substantial with her character besides a piece in the love triangle, which now seems caput. The importance of Aaron in her story did help and “Whatever Happened, Happened” is one of her best episodes, but that spillover doesn’t go far here.

Kate suggests that she’s innocent of the crime she’s on the run from, which considering the differences elsewhere may be true. Whether she is guilty in this reality, she’s a terrible criminal in this one. I’ve seen more than enough movies to know that Kate should’ve ditched the cab as soon as possible (maybe when Kate was in, I don’t know, a chop shop!) Sure LA’s a big city, but that cab had to be reported stolen pretty quick right? Then she returns to Claire to help her out. Clearly Kate 2 hasn’t lived the life Kate has.

I also don’t buy how the garage owner and Claire are so willing to go along with Kate’s operation. Yeah, Kate’s hot, but is she hot enough not to generate a reaction when she tells the mechanic she’s on the run for murder? How seedy is this chop shop? Perhaps because he’s running an illegal operation he can expect that and his laughing implies he thinks she’s joking, but Claire’s turnaround is unbelievable. They suggest that there may be some degree of cross timeline recognition, especially from Jack, but if someone holds a gun to your head and takes you hostage, then comes back to give you your things, the last thing I’d do is go with them. Glossing over the character development for their point isn’t Lost’s style.

While Kate’s flash sideways didn’t add much to the episode and the character development a little sloppy, it continues the idea that the alternate timeline will group together people much as they did on the island. Ethan, here going by his father’s last name rather than the unexplained “Rom”, helps take care of pregnant Claire, albeit in a more helpful and less mysterious and creepy way. Kate also becomes involved, and Aaron’s name is the same.

In the main timeline, Sawyer’s downward spiral continues as he splits from the Temple, disgusted that Sayid lives while Juliet dies, and heads to the dilapidated Dharmaville. Here he finds the engagement ring he was going to use to propose to Juliet (the irony in that, thanks to the time loops, neither were aware of when they lived there in the 2000s). A lot of fans have pointed out Josh Holloway’s scene at the pier as some of his strongest acting and I would agree. Playing breakdowns isn’t easy, but this one is believable from a guy who isn’t known for being forthcoming with his emotions losing the one thing that made him truly happy.

At the temple everyone is freaking out over the resurrection of Sayid. He’s not a zombie, to Hurley’s relief/disappointment. Through various implements of torture, The Others determine he is “infected” or “claimed”. This in all likelihood is connected to the sickness, something that hasn’t been explored since the first season (I think the immunizations from season two were more psychological games than practical health care). It’s also a safe guess that being “claimed” means The Nemesis has you (it’s unknown whether The Others at The Temple are aware that The Nemesis has taken a human form. Again, I have some issues with possession being used to substitute character development, but this season has already firmly established that fate vs. free will is going to be a huge part of the story.

Choice comes into play when The Others want Jack to convince Sayid to take the pill, believing it must be taken voluntarily (or under that illusion). They won’t say what’s in it, what exactly Sayid is sick from or what it specifically will do. Jack, hopefully sick of the Others runaround, calls them on their bluff and tries to take the pill himself. Only then do they admit the pill is poison and that it is the only way to treat people who have encountered said infection.

With the frequent ties to the past, they decide to bring back the one supporting Other who isn’t dead or featured in one of the worst episodes of Lost ever, Aldo, last seen being knocked out in a prison break in season three. Aldo is played by Rob McElhenny, best known for his work on It’s Always Sunny in Philadelphia. In the three years since his first appearance I got caught up on Sunny and I have to admit it was a little distracting having him here. He’s very funny on Sunny, but that show and Lost are in completely different worlds. Part of me expected Claire to shout “Wild card b-----s!” when she killed him. It’s not on him, but more the familiarity that comes with watching a TV character every week.

The big cliffhanger moment is the return of Claire, who has become the new Rousseau. Suddenly disappearing during the chaos at the end of season four and being completely absent during the present timeline in season five (the stock footage doesn’t count), Claire has been speculated on for some time and is the last piece of the three year jump left untold. Last we saw of her she was in the cabin acting stoned with “Christian” and in the three years since then she apparently came across this crew of Others who tried to treat her with what Sayid had. This may tie into the long held belief among some viewers that Claire died in the mercenary attack in season four and was brought back similar to Sayid’s return this season.

Ultimately this episode suffers like many Kate episodes from the personal subplot, since the rest of the episode is pretty solid. It’s not Evangeline Lilly’s fault, as she does the best with what they give her, but the writers haven’t been able to do much with her character and make it stick. They also have a tall order of making the flash sideways interesting, but while it reinforces the themes, here it just doesn’t work.

Overall Score: 7/10